Knossos | Character Sketches

Knossos | My husband is a theme park designer. He also works towards an MFA in 3D animation & visual effects to aid his design work. Since his grad school classes need projects, we collaborate on some projects like this one. Knossos is based on the mythology, legends and history of the minotaur in the labyrinth. I’ll post the various incarnations of story and inspiration as we continue this long-term project.

*I know that the minotaur’s name is Asterius, but I call him Min.

Italics are camera suggestions.

———–1st Draft————

Min* waits alone in the dark. He can feel the vibrations of the crowds above him, on the roads, hardly noting the monster below their lively steps. Every few rotations he can’t help it and lets out a deep roar, as if to scream:

I’m here. I am not just a monster.
I am here. See me.

He can’t help thinking that if he can get the crowds’ attention, if they can see him without blood dripping still wet from his horns, if they can see that he can be gentle so long as he is not threatened —

Cut to shot from behind the Minotaur, we see that he is sitting near the opening into the Gate Room.  We see 3 large gates which Minos’ guards use to come and go.

Maybe I can find a friend.
Camera is just above head height, panning over the top of the mob.  We see hands in the air, the crowd is undulating to the tempo of blood lust.

Outside the slaves of Minos scatter all around the labyrinth, hanging new banners and taking down those from last year, now fading and ragged.

Camera finds a group of young men climbing on each other to tear down last year’s banner and hang a new one.  

The new banners shine with a bronze brick color, the new young men’s faces exuberant above the picture of the beast. Minos always had portraits of the newest heroes sent to his palace months in advance, hardly weeks after their predecessors were mauled and their island back to waiting for the following year. Back to waiting for this curse of Min to leave them.

Cuts to various views of the mob showing all ages and walks of life.  Everyone in Knossos waits all year for this day.

For this one day a year, preparing the festivities, the people can be happy, can believe in joy, with no guilt or sadness pervading their smiles.

For this one day a year, there is hope.

A long shot over the Mob features a lone dark window in an adjacent tower.  Fade to medium push-in on that window.  The shears are blowing in the wind occasionally revealing Pasiphae standing just in the shadows.

Pasiphae looks upon the crowds from the highest window of the furthest room in the darkest tower. Her tears for a love long ago have taken years to create the moat surrounding her isolate room.

Cut to close-up on Pasiphae, highlighting her sullen eyes. Perhaps we see her thoughts of the Bull and her son as ghostly images in her eyes?

For this one day a year, Pasiphae can mourn.

Interior Ariadne’s chamber.  The door opens and she enters, we see a guard in the hall outside.  She passes a thankful glance toward the guard.  She bolts the door from the inside.  We hear a dull roar from the crowd outside.  She goes to balcony doorway and cautiously opens it.  The sound is deafening.  She remains in the shadows lest she be seen.  Cut to exterior view of her window, we see the slightest sliver of sun dash across her cheek and settle on her eye.  She is crying.

Ariadne watches as the crowd gathers before the labyrinth. She sees their typically peaceful population begin to foam with the violence and the letting go, the letting go of all of their fear and hatred of her brother for poisoning their island with his violence, his blood-lust, and the crowds can, for this one day a year, let it all live in the air. No hiding in fear, no hushing the children, no dirty looks to the princess. For they know that she travels and plays with her monstrous brother before the dawn, and how can she stand before such a beast? She must know witchcraft, she must be a sorceress.

For this one day a year, Ariadne is forbidden.

Interior Minos’ “office”.  He is writing on large sheets of parchment, preparing his annual declaration.  Various scribes and deputies hurry about.  There is a lot of activity in the palace.  He is visibly agitated. His private guard arrives.  General indicates that it is time to descend and chain the beast.  Minos rises.  Cut to Minos and his guard (guard consists of General and a small elite detachment) descending with torches aloft.  The arrive at the opposite side of the Gate Room.  Minos indicates to use the left gate.  Guards close iron gates behind the other two and open the inner doors.  They  confirm the other side of the left door to be safe and then proceed through.

Scene with strugle between guards and Minotaur, capturing him, chaining him.  Then Minos approaching his step-son.  Some brief words, then he exits accompanied by a mighty roar from the Minotaur.

To prepare Min for the new heroes, his step-father Minos chains him for three days and three nights. For this feat he travels far and sends special ambassadors to find the right material that humans can lift but Min cannot tear as easily as thread.

For this one day a year, Minos listens to his stepson’s roars.


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