On Monday 22nd October, we held our 3rd group meeting to look over the treatments and pitches we've wrote since the last session. This session was to discuss the 10-minute piece we would be pitching in class later on in the day.
We decided that we were going on a location scout tomorrow morning (10:30am) for the apartment scene, so we can get a better image of how the piece will look within the set.
We have one solid treatment on the idea which plays off our 2-minute but extends it to have more going on and more information about the character. We extend it to make the lottery idea fit in with the fight with the boss we want to use for our first piece (re-filming will be needed for the second piece of course.
Unfortunately the idea is still a little undeveloped at this stage of production - which means we'll hold another meeting shortly to organise this project better.
Saturday, 27 October 2012
My Treatment
Treatment 2: Facing The Shadow (ROUGH)
Synopsis & Outline
The film follows a middle-aged man (the protagonist) & the family as their lives completely changes when the father develops cancer. Will he face up to himself? You see a struggle in regards to wanting to be there for his family/scared of chemo-therapy/ - fear of facing himself.
Story
- Happy rich family - mother & son as other main characters.
- Protagonist quits his run-down job (that actually supplied the family's main source of income) - doesn't tell his wife.
- Gets into the wrong crowd - gang? - who steal, mug/deal drugs (TBD)
- Realises this is morally wrong and leaves the gang (Gang gets angry & threatens him)
- Gets the news that he has cancer, 'collapses' at home.
- Wife & Son want him to have chemo - he doesn't want it and cannot afford - emotional tension within the family builds - the choice needs to be made.
- Decides that he doesn't want to leave his wife & tells her he'll do it - get treatment.
- Wife believes he can pay for it (with the job he's quit) however he chose not to apologise to his boss and go back to the gang and get the money.
- Steal (some big raid of some kind) - TBC occurs.
- End - man sat in a wheelchair with IV drip needed for chemo (Maybe voiceover about his thoughts?) he looks at the camera (emotionless) - was it all worth it?
All About Roles
In session, we were taught about what each role includes. This would allow us to understand our responsibilities better when it came to producing our exercise and 10-minute film later in the semester.
The director is the one person who should, at the very beginning of a project, have a clear vision of what they want and how they want the film to look at the end of post-production. This role includes having a creative overview in every stage of producing the film, in regards to offering advice and working with others.
The director also works with many different people throughout the pre/production/post, such as the actors (working through scripts and keeping control of them on set), cinematographer (with storyboards, to ensure the vision is working for both contributors, as well as on set to ensure the filming is going well), art director, producer & sound editors/recorder. Some of these responsibilities are taken up by AD (assistant directors) on bigger productions, but for our films, this will solely be the director's job.
The director brings everyone together on set, ensure that everything is clear from the beginning to the end. The mood/dialogue is an important aspect the director needs to know from beginning to end, to ensure the film progresses in the right direction for the creative vision being created.
During production, the director must always be available on set.
The producer has a lot of responsibility within the film crew. The producer is in charge of ensuring that everyone working within the production is happy and also that while on set (and everywhere else), everything runs smoothly throughout.
This role also involves going on location scouts with the art director (preferably) to find the best place to create the director's vision. After a location has been found, another responsibility is actually obtaining actors to play the roles created within the piece.
There are many documents the producer needs to create and fill out in regards to production: risk assessment (all locations - set and backstage), call sheets (to allow actors and crew to know when they are needed and what they need to bring with them), budget sheet (strong control is needed to ensure that the film crew don't go over the budget we are given or have - otherwise you may run into many problems with anyone - actors or crew - this isn't really a big problem as ours is a student film and doesn't involve much money, but it is still important to record the little things just in case.) The producer also needs to create a creative environment for the production to run on a more positive atmosphere.
The producer collaborates with the majority of those involved in the production, such as the Director (for creative purposes) as well as everyone else to ensure everything runs well and everyone is happy.
It's also the producers responsibility to solve problems that may occur, such as breakages, weather problems and location issues.
In pre-production, the DOP usually takes control of creating the storyboards with the Director, to create a vision they both can work with throughout the production. Also, the DOP can sometimes work with the producer in regards to schedules, to ensure they have enough time for set-up and shot taking throughout a session of filming.
The main responsibility of the camera operator is to operate the camera. Through the main part of production, the camera operator is in charge of setting up each individual shot, sorting out camera settings (such as frame rate and white balance) and also checking equipment (for us - when we collect it from the media stores - to ensure it works before taking it to the location, so we don't run into unnecessary problems later), but in general, all equipment should be double checked before production times begin.
Another responsibility is collaborating with the actors to ensure that the shots work in the way that the director and camera operator had envisioned within the pre-production stage, you want to capture the right features within each shot (whether it's emotion or subject).
Also, if it's cinematography, the person is responsible for organising and keeping control of lighting and the equipment during set.
In pre-production, the AD may sometimes work with the Director and Camera Operator/Cinematographer on the storyboards, to allow the person to understand the vision - so they can buy props and other materials needed that will match the vision being made. (Example - set in winter, finding winter clothing and darker/colder coloured sets).
The AD is responsible for finding/creating costumes for all the actors (including any extras), creating sketches of said costumes as well as set set-outs, write down ideas as well as gathering/creating props, as well as creating mood boards to allow themselves to understand the mood the director wants for this particular piece.
They are mainly responsible for dressing the set at the time of production - ensuring everything is ready for when the filming schedule is set. To ensure this works in production (after set design is finished), the AD works with the Cinematographer (in regards to colour and filters) and the Editor (grading).
DIRECTOR - 'if you don't know the answer, who does?'
The director is the one person who should, at the very beginning of a project, have a clear vision of what they want and how they want the film to look at the end of post-production. This role includes having a creative overview in every stage of producing the film, in regards to offering advice and working with others.
The director also works with many different people throughout the pre/production/post, such as the actors (working through scripts and keeping control of them on set), cinematographer (with storyboards, to ensure the vision is working for both contributors, as well as on set to ensure the filming is going well), art director, producer & sound editors/recorder. Some of these responsibilities are taken up by AD (assistant directors) on bigger productions, but for our films, this will solely be the director's job.
The director brings everyone together on set, ensure that everything is clear from the beginning to the end. The mood/dialogue is an important aspect the director needs to know from beginning to end, to ensure the film progresses in the right direction for the creative vision being created.
During production, the director must always be available on set.
PRODUCER - 'the job is ensuring that the film is made.'
This role also involves going on location scouts with the art director (preferably) to find the best place to create the director's vision. After a location has been found, another responsibility is actually obtaining actors to play the roles created within the piece.
There are many documents the producer needs to create and fill out in regards to production: risk assessment (all locations - set and backstage), call sheets (to allow actors and crew to know when they are needed and what they need to bring with them), budget sheet (strong control is needed to ensure that the film crew don't go over the budget we are given or have - otherwise you may run into many problems with anyone - actors or crew - this isn't really a big problem as ours is a student film and doesn't involve much money, but it is still important to record the little things just in case.) The producer also needs to create a creative environment for the production to run on a more positive atmosphere.
The producer collaborates with the majority of those involved in the production, such as the Director (for creative purposes) as well as everyone else to ensure everything runs well and everyone is happy.
It's also the producers responsibility to solve problems that may occur, such as breakages, weather problems and location issues.
CINEMATOGRAPHER (OR DOP/CAMERA OPERATOR)
In pre-production, the DOP usually takes control of creating the storyboards with the Director, to create a vision they both can work with throughout the production. Also, the DOP can sometimes work with the producer in regards to schedules, to ensure they have enough time for set-up and shot taking throughout a session of filming.
The main responsibility of the camera operator is to operate the camera. Through the main part of production, the camera operator is in charge of setting up each individual shot, sorting out camera settings (such as frame rate and white balance) and also checking equipment (for us - when we collect it from the media stores - to ensure it works before taking it to the location, so we don't run into unnecessary problems later), but in general, all equipment should be double checked before production times begin.
Another responsibility is collaborating with the actors to ensure that the shots work in the way that the director and camera operator had envisioned within the pre-production stage, you want to capture the right features within each shot (whether it's emotion or subject).
Also, if it's cinematography, the person is responsible for organising and keeping control of lighting and the equipment during set.
SOUND RECORDIST/EDITOR
The sound recordist is responsible for organising all the sound within the piece (if editor - as in our production). The sound role requires the person to record all the sound (ambience/actor dialogue/voiceover) - everything. The sound role is responsible for the microphones, audio recorders and boom poles. Another key part is creating Foley sound within the work.
The sound artist collaborates with the Director to create a sound design for the work. The artist is also responsible for getting rights to music (if used) from music companies - or find royalty free music - this also concerns to Producer.
The sound artist must always use the music wisely and not go over the top.
ART DIRECTOR
The AD is responsible for finding/creating costumes for all the actors (including any extras), creating sketches of said costumes as well as set set-outs, write down ideas as well as gathering/creating props, as well as creating mood boards to allow themselves to understand the mood the director wants for this particular piece.
They are mainly responsible for dressing the set at the time of production - ensuring everything is ready for when the filming schedule is set. To ensure this works in production (after set design is finished), the AD works with the Cinematographer (in regards to colour and filters) and the Editor (grading).
(PICTURE) EDITOR - 'like the writer'
The Editor is responsible for bringing all the footage together. Being a main role in post-production, it allows the footage to be seen with a 'fresh-eye' in regards to both the characters and the narrative the piece is presenting. The editor needs to ensure that the sound and the image works together (in regard to both mood and sync), colour and grade footage where needed as well as log the footage given.
Monday, 15 October 2012
Group Meeting: Meeting The Group & First Ideas
On 15th October 2012, we held our first group meeting for the drama exercise.
The roles we chose are as follows:
Director - Tom Newsham
Producer - Jessica Ingleby
Cinematographer - Lewis Hague
Sound Director/Editor - Alex Coates
Editor - Natalie Obank (myself)
This meeting was to make a concrete decision on the idea we wanted to pursue, so members of the team could start their roles ASAP (for example, creating storyboards and contacting actors etc.)
Here are some notes from the meeting:
Jess - Relationship between teenager and an over-protective mother. 2-minute section shows the pair out shopping, the mother taking control (picking out her clothes, not listening to her etc.)
AND a man in debt, tries the lottery and thinks he'll win, however the last number isn't his, so we see the change in emotion. :)
EXPANSION NOTES: idea that he could be shopping and doesn't have enough money (shows, shame and embarrassment), sits down in the streets, accidentally mistaken for a tramp - someone gives him a pound coin, tries his luck buying a lottery ticket. - expansion needed still.
Alex - Perspective idea - from the old man idea in class, however altered to be about a man who has a different reality in regards to how people react to him, for example - someone walks past upset, frowning or grumpy, and the man sees them as happy and excited and sociable towards him.
Expansion - some form of trauma at beginning causes him to see everything in an optimistic viewpoint. :)
Main idea - Mid-20s guy loses job. EXERCISE focuses on the reaction to the phone call with his boss in real time, showing his different emotions towards the news - anger, fear of losing everything, shame, frustration, depression, upset etc. He'll be within his run-down apartment (to create a desperate environment because the job is 'rock bottom') work will focus on the emotion of the character, by use of sound and camera shots.
Wanting to go with Jess' lottery idea because I think it shows the most emotion and has more options in regards to expansion.
Possible Actor - Nathaniel McCartney
Sound Ideas - No diagetic sounds. A mash-up of loan ad announcements, betting shops etc, everything to do with money to add tension, atmosphere and stress the character is feeling.
Tom & Lewis - complete a storyboard focusing on the 2 minutes, thinking about showing the emotion of the character in the best possible way in regards to CUs and angles. Think about linking sound too.
Jess - Calling potential actors, get a fixed person for definite and a backup if available. Also start writing the script focusing on the 2 minutes only, focus on types of shot and emotion you want to show and how you want it to be presented to your audience.
Tom - Location Scout, look at places we could use for each scene, take photographs and explain how they would work. Also think about the costumes of the main character - when is it set?
Notes:
- could have had a part-time job and lost it.
- phone call
- over-dub as character shows 'moody emotion' (recalling the conversation in his head).
- when the phone call ends, return sound to reality (shot starts with him putting the phone down - upset/depressed emotion)
- setting - an old/run-down apartment (low-rock bottom job)
- be in real time? 2-minute conversation with boss - desperation to keep his job, fear of losing it.
- in
Conclusion:
- stick with lottery guy idea
- write up story (2 minute)
- complete the script and storyboard
- location and costume scout
- think about the sounds and obtaining them in the best quality
- possible film date: Weds 24th
- contact actor!!!!!
The roles we chose are as follows:
Director - Tom Newsham
Producer - Jessica Ingleby
Cinematographer - Lewis Hague
Sound Director/Editor - Alex Coates
Editor - Natalie Obank (myself)
This meeting was to make a concrete decision on the idea we wanted to pursue, so members of the team could start their roles ASAP (for example, creating storyboards and contacting actors etc.)
Here are some notes from the meeting:
Jess - Relationship between teenager and an over-protective mother. 2-minute section shows the pair out shopping, the mother taking control (picking out her clothes, not listening to her etc.)
AND a man in debt, tries the lottery and thinks he'll win, however the last number isn't his, so we see the change in emotion. :)
EXPANSION NOTES: idea that he could be shopping and doesn't have enough money (shows, shame and embarrassment), sits down in the streets, accidentally mistaken for a tramp - someone gives him a pound coin, tries his luck buying a lottery ticket. - expansion needed still.
Alex - Perspective idea - from the old man idea in class, however altered to be about a man who has a different reality in regards to how people react to him, for example - someone walks past upset, frowning or grumpy, and the man sees them as happy and excited and sociable towards him.
Expansion - some form of trauma at beginning causes him to see everything in an optimistic viewpoint. :)
Main idea - Mid-20s guy loses job. EXERCISE focuses on the reaction to the phone call with his boss in real time, showing his different emotions towards the news - anger, fear of losing everything, shame, frustration, depression, upset etc. He'll be within his run-down apartment (to create a desperate environment because the job is 'rock bottom') work will focus on the emotion of the character, by use of sound and camera shots.
Wanting to go with Jess' lottery idea because I think it shows the most emotion and has more options in regards to expansion.
Possible Actor - Nathaniel McCartney
Sound Ideas - No diagetic sounds. A mash-up of loan ad announcements, betting shops etc, everything to do with money to add tension, atmosphere and stress the character is feeling.
Tom & Lewis - complete a storyboard focusing on the 2 minutes, thinking about showing the emotion of the character in the best possible way in regards to CUs and angles. Think about linking sound too.
Jess - Calling potential actors, get a fixed person for definite and a backup if available. Also start writing the script focusing on the 2 minutes only, focus on types of shot and emotion you want to show and how you want it to be presented to your audience.
Tom - Location Scout, look at places we could use for each scene, take photographs and explain how they would work. Also think about the costumes of the main character - when is it set?
Notes:
- could have had a part-time job and lost it.
- phone call
- over-dub as character shows 'moody emotion' (recalling the conversation in his head).
- when the phone call ends, return sound to reality (shot starts with him putting the phone down - upset/depressed emotion)
- setting - an old/run-down apartment (low-rock bottom job)
- be in real time? 2-minute conversation with boss - desperation to keep his job, fear of losing it.
- in
Conclusion:
- stick with lottery guy idea
- write up story (2 minute)
- complete the script and storyboard
- location and costume scout
- think about the sounds and obtaining them in the best quality
- possible film date: Weds 24th
- contact actor!!!!!
Wednesday, 10 October 2012
Drama Exercise: My Individual Idea
After the exercise was set, every program I watched made the emotional scenes stand out to me, and I got a lot of inspiration from hospital dramas as well as many others I've watched for pleasure.
My idea was inspired by both drama and personal situations.
Set: Outside in the cold (maybe dark), to bring across the glumness of the characters.
Characters: Husband (Frank): Oldish Man, Coat & Scarf. Suffering from Cancer.
Wife (Susan): Mid-30's, emotionally unstable from hearing the news.
For the exercise, my idea was to portray the emotion between the pair in regards to Frank's illness. The couple are sat on a bench in their local park, where they used to spend all their time together as teenagers. It's cold & dark. Susan sits straight, almost looking emotionless, numb maybe next to Frank, who's upset at his wife's reaction to his refusal. He wants to be there for her, however he doesn't want to go through all the pain of the illness. Susan stands up and slowly walks towards the pillar in the centre of the park, (emotionless, slow, robot-like). Frank starts to cry and looks down at her bag, spotting several 'How to fight cancer' books. He doesn't want to hurt her or leave her, she means everything to him, and all the books show how much she means to him. He sits there looking at the sky, at the floor, confused, trying to figure out what the best thing to do would be, and as he looks at his ring on his finger, he makes the decision. He walks over to Susan who's started to cry (but trying not to show it) and hugs her from behind, burying his face in her back. After a while, Frank says (still burying behind her) 'I'll do it.', Susan looks shocked and slowly shows appreciation and happiness that her husband is trying to save the family, and save himself, they share an emotional look, Susan slowly changing from a numb expression to a small smile as she cries happy tears, and Frank, a smile turning into a scared (try to be brave) face.
END.
My idea was inspired by both drama and personal situations.
Set: Outside in the cold (maybe dark), to bring across the glumness of the characters.
Characters: Husband (Frank): Oldish Man, Coat & Scarf. Suffering from Cancer.
Wife (Susan): Mid-30's, emotionally unstable from hearing the news.
For the exercise, my idea was to portray the emotion between the pair in regards to Frank's illness. The couple are sat on a bench in their local park, where they used to spend all their time together as teenagers. It's cold & dark. Susan sits straight, almost looking emotionless, numb maybe next to Frank, who's upset at his wife's reaction to his refusal. He wants to be there for her, however he doesn't want to go through all the pain of the illness. Susan stands up and slowly walks towards the pillar in the centre of the park, (emotionless, slow, robot-like). Frank starts to cry and looks down at her bag, spotting several 'How to fight cancer' books. He doesn't want to hurt her or leave her, she means everything to him, and all the books show how much she means to him. He sits there looking at the sky, at the floor, confused, trying to figure out what the best thing to do would be, and as he looks at his ring on his finger, he makes the decision. He walks over to Susan who's started to cry (but trying not to show it) and hugs her from behind, burying his face in her back. After a while, Frank says (still burying behind her) 'I'll do it.', Susan looks shocked and slowly shows appreciation and happiness that her husband is trying to save the family, and save himself, they share an emotional look, Susan slowly changing from a numb expression to a small smile as she cries happy tears, and Frank, a smile turning into a scared (try to be brave) face.
END.
Character Observation Notes (Class)
These are ideas other people in the class came up with (briefly):
- Hooded Girl in town, who is an inspiring artist, but shy in person.
- Old man walking his dog - a man who escapes into a fantasy world and loses his reality.
- A big-shot music producer who burnt out too quickly and pursues a new ambition
- A barman struggling to cope, alcohol at work, alcohol at home.
- Shifty man, wanting to marry the girl he loves, stuck marrying his boss' daughter whom he doesn't love.
- A family broken from the death of the mother, focuses on building the relationship between the father and the two daughters.
- Woman trying to ring someone, lost her job and has to start fresh (husband can't work).
- Mother of Autistic child worried about her child's future tries to find him a girlfriend before she dies.
- Homeless guy and his dog - big shot businessman shows a dog isn't just for christmas.
- A rebelling teenager decides to show his parents that love means more than his religion.
- An old lady forced into retirement revisits her sad memories of her husband who vanished.
- Old man who always forgets....
- The old man who tends to his garden, the love of his life (Loveless Marriage)
- An older woman stuck in a younger mindset.
My two favourites of these are the 'Homeless Guy' and 'Autistic Girlfriend' ones. I think they would be heartwarming, and dramatic at the same time. I think the ideas could be widely explored and presented in many different ways!
My Character Observation
In a session, we were asked to observe people around us to create characters we could use within a drama film.
Notes:
Person: Headphones in, hood up (not raining), very tense posture, dark clothes with a guitar case on his back.
Ideas:
- Closed off from the world, has someone broken his trust/self-confidence?
- Has someone told him to do something he's unsure about?
- Has he any emotional damage?
- Struggles to communicate with others.
The Character I Created:
Sam, 18 from Urban London
Lives with his Alcoholic Father & 6 Year-Old Sister Emma in a council flat.
Mother died 2 years ago from a long suffering illness.
Routine: Goes to school, doesn't really have friends and gets picked on by almost everyone (about his looks, his clothes, living situation and family) - constantly bullied and knocked around by 'jocks'.
Idea: Walks past the underground bridge, to see a well known gang messing around, and this time walks past (and puts headphones in). Walks home (interrupted, gets a few random looks from people). Gets home. Emma is in her usual corner (out of the way of Dad) playing with the doll Mum had bought her, it was broken because of Dad's drunken rages. He never got her another, claimed he couldn't afford it. Dad isn't home yet, (probably out spending that 'no money' he has on drinks). Watches TV with Emma and talk about Mother. Dad comes home later, drunk of course. Sam sends Emma to her room (for protection), Dad straightaway starts yelling abuse towards him, self-pity/angry comments about his mother and how it was apparently 'Sam's Fault'. Sam, too angry to take anymore walks into his room and bolts it, and shrugs to the floor as his Dad bangs and hurls abuse through the door. Sam spots his guitar, plugs it into his amplifier and plays music until his father leaves, or whenever he feels like stopping - music is his passion.
He wants to get away from his father and pursue his music ambitions, however he fears for Emma's safety and can't leave her with him...
Notes:
Person: Headphones in, hood up (not raining), very tense posture, dark clothes with a guitar case on his back.
Ideas:
- Closed off from the world, has someone broken his trust/self-confidence?
- Has someone told him to do something he's unsure about?
- Has he any emotional damage?
- Struggles to communicate with others.
The Character I Created:
Sam, 18 from Urban London
Lives with his Alcoholic Father & 6 Year-Old Sister Emma in a council flat.
Mother died 2 years ago from a long suffering illness.
Routine: Goes to school, doesn't really have friends and gets picked on by almost everyone (about his looks, his clothes, living situation and family) - constantly bullied and knocked around by 'jocks'.
Idea: Walks past the underground bridge, to see a well known gang messing around, and this time walks past (and puts headphones in). Walks home (interrupted, gets a few random looks from people). Gets home. Emma is in her usual corner (out of the way of Dad) playing with the doll Mum had bought her, it was broken because of Dad's drunken rages. He never got her another, claimed he couldn't afford it. Dad isn't home yet, (probably out spending that 'no money' he has on drinks). Watches TV with Emma and talk about Mother. Dad comes home later, drunk of course. Sam sends Emma to her room (for protection), Dad straightaway starts yelling abuse towards him, self-pity/angry comments about his mother and how it was apparently 'Sam's Fault'. Sam, too angry to take anymore walks into his room and bolts it, and shrugs to the floor as his Dad bangs and hurls abuse through the door. Sam spots his guitar, plugs it into his amplifier and plays music until his father leaves, or whenever he feels like stopping - music is his passion.
He wants to get away from his father and pursue his music ambitions, however he fears for Emma's safety and can't leave her with him...
'Cubs' Film Review
'The Cubs'
Written & Directed by Tom Harper
From the very first shot within the film, we are instantly introduced into the 'story world' Harper was representing within his work. We're shown a run-down football pitch with graffiti all around the ground. This instantly suggests it's in the style of urban London or any other urban area. This means you are already introduced to the social class of the characters who are going to be involved (middle/lower class - no first class standards within this story.) Which allows you to presume the type of characters and the dialogue (aka accents) will be like, before anyone has talked or has been introduced. We are also shown the time of year by the costumes of the characters (as shown above, most of them are in winter jackets with gloves on.)
Harper then follows through by introducing the main character by presenting the audience with an extreme close up of his face. You're aware that this character is important because firstly, he is the first person whose face we have been shown, also, we're very close to his face, which means we're already invading his personal space and getting involved in his world and his business.
From the very first shot within the film, we are instantly introduced into the 'story world' Harper was representing within his work. We're shown a run-down football pitch with graffiti all around the ground. This instantly suggests it's in the style of urban London or any other urban area. This means you are already introduced to the social class of the characters who are going to be involved (middle/lower class - no first class standards within this story.) Which allows you to presume the type of characters and the dialogue (aka accents) will be like, before anyone has talked or has been introduced. We are also shown the time of year by the costumes of the characters (as shown above, most of them are in winter jackets with gloves on.)
Harper then follows through by introducing the main character by presenting the audience with an extreme close up of his face. You're aware that this character is important because firstly, he is the first person whose face we have been shown, also, we're very close to his face, which means we're already invading his personal space and getting involved in his world and his business.
The story starts with a group of children in a park, playing football. Ben (Main Character) and his friend (Davis) sit on the wall 'waiting for someone'. When that someone arrives, Davis says 'we never get picked', and the protagonist replies 'we will this time.' Which indicates a change within the story. Then, Karl is introduced to the story. The football pitch goes silent and the children line up as he approaches. This instantly suggests power over them (not to mention the two lackeys, or so they would seem, stood behind him.) He stands central, dominating the shot once again suggesting power. The choice of colour in clothing (red/black) could also signify 'evil', 'dark' and 'murder'. Another point I noticed was he was cast taller than the rest of the children, making them look up at him. When one child acts cocky and asks Karl if 'he's cool?', Karl immediately shouts 'Shut your mouth,' sealing the idea of him being the dominant one within this piece.
When Ben isn't chosen to be part of Karl's gang, he gets angry and goes after him to ask him way. This introduces the barrier for Ben, as Karl tells him 'he's looking out for him', meaning he wants to keep him safe, out of the way of the gang. However, Ben doesn't accept this and says he's ready, and Karl says yes, to both him and Davis tagging along later that night. Ben is than happy... but for how long?
The group then meet late at night under a tunnel. Rushes and music are used to create a tense atmosphere within the scene - a gang together, doing drugs and talking about past events. Ben is shown as uneasy, he wanted to make something of himself, and the gang was the only thing he knew he could do, but looking at all these people seems to be unsure whether being there is really want he wants.
Karl then hands Ben a bat saying 'if you fuck up, you're on your own.', which applies a lot of pressure to the character. Then Karl rallies everyone up, shoots a gun and tells everyone to move out.
As the gang run, they spot a fox, and chase it down. Ben gets close to catching it, but doesn't hit it (misses it). Karl shouts at him, telling him he's not good enough and others moan around him. As they talk amongst the group and look around for the missing creature, Ben once again looks uneasy until he spots what everyone is looking for - the cub.
This is where the 'Choice' of the story appears most strongly. Ben has to decide whether he should follow his moral instinct and let the fox get away, or tell the gang and be appreciated by them again. Unsure of his answer however, he choses the later, and the group chase down the fox and beat it.
Once the gang have attacked the fox, Karl hands Ben a gun and tells him to deliver the final blow. Ben takes a minute or so to actually take any action whatsoever. He looks at his friend Davis, who doesn't say anything, however looks slightly shocked at the events occurring, and Ben seems uneasy once again.
Ben is once again given a choice: do the moral thing, let it live and help it, or do as the peer pressure says and shot it, and once again, chooses the later.
After he's shot the fox and the gang congratulate him, he instantly knows it was the wrong choice, a horrible thing to do. He's in the gang, he's doing what they do, however he isn't happy. Emotion is very strong in the last section of the film, because you can tell he understands that what he has done is wrong in many ways and he isn't happy where he is, however, he's done it now, he's part of the gang and this is his life now.
I personally didn't like the subject of the film in regards to the fox (for personal reasons), however I believe the story followed the rules of drama perfectly, it made me emotional, and it made me react to his actions. We know it's wrong and so does he. The set up was clear and introduced straightaway, as was Ben the main character. There were many choices and unfortunately he chose the wrong ones, however I think it was a nice twist - not a 'happy ever after'. It's more realistic towards people of today, in regards to finding their place in the world, making wrong decisions and taking wrong actions and being stuck with the consequences they leave behind.
What Does Drama Involve? (Module Notes)
Developing The Truth
Drama films are known for creating a 'story world'. Even though this world can be a complete fantasy, it must contain it's own truths (some morals/rules), otherwise the world wouldn't have a story, as anything and everything would be allowed within it.
Characters are also incredibly important. Firstly, you need a cast that fits the part, as well as has the skills to show the right emotions with both their face and body language. The characters within this drama need to fit within the world you've created for them, otherwise your audience will find the character 'odd', and not feel comfortable around them, making the story not as dramatically received as it should have been. Within the story, these characters need to face some form of barrier or choice, for example, wanting to join a music college, but a family member is against it, you can't afford it or something in relation. A choice, would be to do the right or wrong thing maybe, and the character will then have to face the inevitable consequence.
Another factor which is important in creating a drama piece, is the dialogue created for the characters. You need them to be realistic (within the story world that has been created for them) in regards to accents, language etc.
All of these factors come together to create the realism or 'the truth' of the work being created.
Setting-Up Your Story
The set up of a drama film is also very important. If done incorrectly, the audience may find themselves lost within the piece, whether it be in regards to character or place setting. Set up within (a short) a work usually creates 2-3 minutes. The set up includes:
The Drama Sections:
These are the steps a drama film usually takes to tell it's story:-
SET UP
1. Set Up - Revealing the world, the rules and your main character.
2. Inciting Incident - Something that changes their daily routine.
(Example: The Ball being announced in 'Cinderella')
3. Plot Point I - The point of the story that starts to push the character into what they want.
(Example: Fairy Godmother turning the pumpkin into a car, 'you shall go to the Ball!')
THE DRAMA
4. Mid Point - Where the character is closest to want they want.
(Example: Cinderella dancing with the prince at the ball.)
PROBLEM OCCURS
5. Plot Point II - Where the character has to work their way up to what they want again.
(Example: Cinderella fighting her way to see the prince.)
THE RESOLUTION
The end of the story when all problems are solved - (Example: Cinderella tries on the shoe)
THE THREE ELEMENTS OF DRAMA: CAUSALITY, TIME AND SPACE
(These are needed for the audience to understand what's happening.)
Drama films are known for creating a 'story world'. Even though this world can be a complete fantasy, it must contain it's own truths (some morals/rules), otherwise the world wouldn't have a story, as anything and everything would be allowed within it.
Characters are also incredibly important. Firstly, you need a cast that fits the part, as well as has the skills to show the right emotions with both their face and body language. The characters within this drama need to fit within the world you've created for them, otherwise your audience will find the character 'odd', and not feel comfortable around them, making the story not as dramatically received as it should have been. Within the story, these characters need to face some form of barrier or choice, for example, wanting to join a music college, but a family member is against it, you can't afford it or something in relation. A choice, would be to do the right or wrong thing maybe, and the character will then have to face the inevitable consequence.
Another factor which is important in creating a drama piece, is the dialogue created for the characters. You need them to be realistic (within the story world that has been created for them) in regards to accents, language etc.
All of these factors come together to create the realism or 'the truth' of the work being created.
Setting-Up Your Story
The set up of a drama film is also very important. If done incorrectly, the audience may find themselves lost within the piece, whether it be in regards to character or place setting. Set up within (a short) a work usually creates 2-3 minutes. The set up includes:
- Setting Up The Scene/Story World - you need to tell the audience about the world they are about to be projected into, otherwise they'll feel lost, will not understand anything about it, as well as the rules of the area. Whether it's a completely different fantasy world or a particular city (for example Urban London), it needs to be clear where the drama is set.
- Introducing Your Main Characters - This should be one of the first characters you properly introduce to the audience, whether through showing them or speech. They need to be likeable and shown as soon as possible to allow the audience to connect emotionally with them, so when the disruption occurs later in the film, the character is rooting for the protagonist instead of someone else.
The Drama Sections:
These are the steps a drama film usually takes to tell it's story:-
SET UP
1. Set Up - Revealing the world, the rules and your main character.
2. Inciting Incident - Something that changes their daily routine.
(Example: The Ball being announced in 'Cinderella')
3. Plot Point I - The point of the story that starts to push the character into what they want.
(Example: Fairy Godmother turning the pumpkin into a car, 'you shall go to the Ball!')
THE DRAMA
4. Mid Point - Where the character is closest to want they want.
(Example: Cinderella dancing with the prince at the ball.)
PROBLEM OCCURS
5. Plot Point II - Where the character has to work their way up to what they want again.
(Example: Cinderella fighting her way to see the prince.)
THE RESOLUTION
The end of the story when all problems are solved - (Example: Cinderella tries on the shoe)
THE THREE ELEMENTS OF DRAMA: CAUSALITY, TIME AND SPACE
(These are needed for the audience to understand what's happening.)
Friday, 5 October 2012
Introduction To Module
Hello & Welcome to my Level 5 Moving Image Production: Narrative Module - Blog. :)
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