During the idea-generating process for a lot of the visual content found in my short film, I had spent much of my time storyboarding and amending issues I found with the narrative structure of our script. One problem I encountered with the office dialogue section of the film was the repetitive nature it created, feeling like Lolas's reasoning behind the murders hadn't been justified enough with any forms of 'flashback' expositing that showcased her previous unsuccessful work endeavours. During this time into our brief, I was assigned the task of completing a highly detailed presentation picking apart Wes Anderson's Rushmore, discussing the single-camera uses found throughout the film and its narrative comparison to other movies that utilise this filming technique. After having watched Rushmore again, I had been intrigued by the opening montage depicting Max's extracurricular activities, the fast pace at which the film had been able to dump a large quantity of exposition in such a short period of time inspired me to repurpose this montage structure for our own benefit. That and the non-diegetic typography component introduced due to the non-dialogue element had allowed me to place Lola within these previous assignments and have the newspaper headlines appear on the screen. Much like these affective examples, my film poem will introduce a montage where the painter protagonist is displayed visiting and examing a list of locations and specific items that aid his creative vision forward, having the non-diegetic typography characteristic introduce each location while having props and their diegetic typography present the form of inspiration.