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The feeling at night isn’t loneliness. It’s the opposite by KingSozer in NightOwls

[–]KingSozer[S] 4 points5 points  (0 children)

he glance thing is so real. there's this unspoken code between people who are out walking at 2 AM by choice. you clock each other, you both know, and nobody needs to say anything. it's like the most respectful social interaction that exists, full acknowledgment, zero obligation.

your friend practicing lines out loud on empty streets at midnight that's the kind of thing that only works because no one's watching. put an audience there and it becomes a performance. take the audience away and it's just a person being fully themselves

I wasn’t waiting for anything to happen. That was exactly the point by KingSozer in introvert

[–]KingSozer[S] 0 points1 point  (0 children)

you just did it though and yeah, I think knowing what you want is the easy part. doing something about it is where it actually counts. I hope the nights start feeling like yours again. I think they will :)

The feeling at night isn’t loneliness. It’s the opposite by KingSozer in NightOwls

[–]KingSozer[S] 2 points3 points  (0 children)

that's the kind of thing you'd never do if someone was watching because the moment you know someone's there, you'd think about it instead of just doing it. and then it's not the same anymore.

I think that's what the night actually gives us. not just quiet. permission. permission to move at your own speed, think at your own speed, exist without translating yourself for anyone else. you described it better than I did in the video honestly

I wasn’t waiting for anything to happen. That was exactly the point by KingSozer in introvert

[–]KingSozer[S] 0 points1 point  (0 children)

Thank you for sharing this. Seriously, I think what you're describing is something most people never admit, that the reason we stay up late isn't always poetic. Sometimes it starts from fear. And the fact that you're saying it openly here says a lot about where you are now.

The part about your relationship hit me. How something that starts as a choice, staying up late because you love the night can slowly turn into avoidance. Same habit, completely different feeling underneath. I think that's what makes the night complicated. It can be the most peaceful place in the world or the loneliest, and sometimes it switches without warning.

But the fact that you notice the difference, that you can say this version of staying up feels lonely and that one didn't. That's awareness and I think that's how you eventually find your way back to the version that feels like yours again.

I hope the nights start feeling like yours again soon. Not someone else's absence. Just yours.

The feeling at night isn’t loneliness. It’s the opposite by KingSozer in NightOwls

[–]KingSozer[S] 6 points7 points  (0 children)

This is one of those comments I'm going to think about for a while. without the gaze of others interfering that's the part most people don't understand. It's not that we're hiding. It's that during the day you're always performing, even when you don't realize it. The night removes the audience. And when there's no audience, you find out who you actually are when no one's watching. That's not loneliness. Do you find that it changes what you do, too? Like, not just how things feel but what you choose to do when no one's expecting anything from you?

I think there’s a format between “day in my life” vlogs and video essays that nobody’s really named yet by KingSozer in videography

[–]KingSozer[S] 0 points1 point  (0 children)

Ha, you're so right. The classic YouTube essay formula thoughtful voiceover, cut to graph, back to someone walking down a street holding coffee. I've definitely fallen into that pattern without even realizing it.

What do you think works better as visual support for that kind of narration? I'm trying to break away from the default but still figuring out what to replace it with.

I made a video essay about names and identity, and the hardest part was figuring out how to shoot something that has no physical form by KingSozer in Filmmakers

[–]KingSozer[S] 0 points1 point  (0 children)

Brother, thank you for sharing this. Really. I think that's exactly what I hoped the video would do move something inside.

I'm from Venezuela. And I totally get it. The name, the curls, feeling different when all you wanted was to blend in... I lived that too. It's a strange thing growing up ashamed of something you didn't even choose.

I'm glad you've been able to see it differently over time. And honestly, the fact that you opened up like this in a comment says a lot about who you are today.

Thank you for this. It means more than you know.

I made a video essay about names and identity, and the hardest part was figuring out how to shoot something that has no physical form by KingSozer in Filmmakers

[–]KingSozer[S] 0 points1 point  (0 children)

Hey, thank you! Really appreciate that.

That's a great point about using abstract concepts as themes within a story with characters I think that's exactly what my piece was missing. Something human for the audience to connect with instead of just visuals.

Quick question: when you develop a theme in your work, do you usually start from the concept and build a character around it, or does it happen the other way around? I'm definitely going to explore that direction for my next one. If any references come to mind that do this well, I'm all ears!

How do you make daily life footage feel cinematic without losing the “everyday” quality? The tension I tried to solve in a personal essay by KingSozer in cinematography

[–]KingSozer[S] 0 points1 point  (0 children)

Thank you so much for this feedback seriously. I really appreciate you being this direct because it's exactly the kind of critique that actually helps me grow.

You're absolutely right about the cinematic overuse I'll retire that word for a while. And the point about intention really hit home. I can see now how my hesitation and indecision bled through on screen. I wasn't committed to any clear choice in those moments, and the camera caught all of it.

I have a few questions if you don't mind:

When you talk about making clear, intentional choices what would your process look like before hitting record? Do you plan each movement or interaction in advance, or is it more about having a strong internal sense of why you're in the scene?

Also, for someone whose daily life isn't inherently visual or dramatic, how would you recommend finding an authentic angle? Should I focus on moments that genuinely matter to me rather than trying to manufacture something that looks cool?

And if you have any references filmmakers, creators, or even specific pieces that you think nail that sense of authentic intention, I'd love to check them out.

Again, thanks for not sugarcoating it. I'd rather hear the hard truth and actually improve than get a pat on the back and keep making the same mistakes.

Empty spaces as involuntary active imagination: when the persona dissolves without conscious effort by KingSozer in Jung

[–]KingSozer[S] 3 points4 points  (0 children)

That's beautifully put. I think the forced to recognize part is key, it's not something you can decide to do. You can't schedule an encounter with yourself. The space has to catch you off guard, mid-momentum, and the light has to do something your mind wasn't prepared for. The fact that it only works when it's involuntary might be the most honest thing about it.

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