Major Project: Set Design

Set design is an important aspect of our project, which definitely shouldn't be overlooked. I have been thinking a lot about the style of back drop / back cloth that we can have for the scene whether it be a 3D style set or a simple back cloth that will be hung up. 

The scene is based around a masquerade ball, and the two are arguing just outside of the ball, so ideally I would like something which looks like a ball, but has a door so they look like they are stood outside it, or a backdrop like the picture to the right which looks like it is 'outside' of the ballroom so none would be there.

I did some research into palace, ballrooms, and masquerade ball style back cloths and found some imagery below which is used in pantomimes such as Cinderella and other theatre productions. A few of them are back cloths which are tied up onto a pole, whilst others have 3D aspects to them which pieces of cardboard which brings it more to life. I really like the 3D aspects of the productions, however, i'm not sure we would be able to get it in time and also if it would fit in our budget. 

I have began to look into some theatre hire websites and companies to see if there was any back cloths and/or cardboard pieces that we could hire or get made and see the prices of them.

• http://www.3dcreations.co.uk
• http://www.nationaltheatre.org.uk/props-hire-store

I also looked onto Propit (http://www.propit.co.uk/#) however, they didn't have many large set pieces and when contacting them, they told me that most the props are hired by the week which meant the price would go up very high as we only want it for a couple of days.

I have begun to focus my search more towards just a back cloths as the sets I was finding didn't fit with what I wanted. I found on various sites very high rental prices which are way above our budget and finally found Qdos Entertainment, a company which specialises in all things theatre production and they have been very helpful! I accepted that most companies lowest prices was around £100 - 150 for a few days to a week of hire, and began looking for the best backcloth I could find.

I found the backdrop PALACE which looks perfect on the photograph for what we want! Admittedly, the lighting helps so much and they have obviously added things to it, however, after a long search it was the best one I could find and I really like it. I decided to contact Annabelle and ask more information such as the size and the price. Due to there being a lot of bookings for the cloths, I decided to book it for a few days in advance, as they won't send us it any earlier than our booking day and I want to make sure it gets here on time. Although this may cost more it's definitely worth it instead of it not arriving!

Annabelle was very helpful and after a few conversations and information I have all the paperwork and have signed an agreement. The only issue is that due to the theatre not being a HUGE theatre, the cloth is 40ft by 20ft which means we will have to pull the bars up really high and tuck some of the cloth in. I asked Alison and she gave me the measurements for the stage so that we have a rough idea of how much will have left over.

Here is an image of the back cloth we have chosen which is called 'PALACE'

Another important aspect of our set design is the masquerade ball scene. Originally, I wanted a separate backcloth for the scene, however, I think it will be too expensive for our budget and there are other ways around dressing it up. I want to either use the same back cloth or use the theatre lights to light up the background. Also, i've bought some balloons, party poppers, ribbon and a small helium canister so that we can decorate the scene more and make it more party like. The extras will be wearing ball gowns and masks so hopefully everything should fit together nicely!

Major Project: Independant Producer Research

As my role as producer this year, I have lots of things to consider in my further preparation for the film shoot. It's extremely important that I do enough research into the role before taking our film into production.

Looking into independent film producers, I found Tim Barrow. Tim is an actor, writer and independent film producer. Tim made 'The Inheritance' a film directed by Charles Belleville which was a no budget film and was nominated for Best UK Feature at Raindance Film Festival. I think it's important to look into independent producers to see how they create films with what they have, yet still a professional film.

During an interview Tim mentioned some tips which he thinks are important for producers.

• Celebrate your limitations. 

Work with what you have, throughout Tim's film he filmed in Scotland, because that's were both the director and he grew up.

''It’s crucial to understand the kind of film you have, the level you’re working at and how you can maximise your strengths within those parameters.''

• Films take blood, sweat, tears and time.

Tim had a £5,000 budget for his film, and still managed to have a cast, crew and script which was filmed in 11 days. He mentioned that no one got paid but everyone was fed throughout. 

• Find brilliant actors.

Cast actors who have film star quality, who prove fascinating to watch onscreen. The Inheritance was driven from the beginning by discussions between the actors which I turned into the script. 

Actors are the difference between making a great film and a bad one. Making sure to find a great script can entice the actors in on such a low budget film.

''Actors are ephemeral, dynamic, creative beings and the good ones are hungry. If you can satisfy their hunger with a great part, then you stand a chance of turning a decent story into a great film.''

• Publicise

Tell everyone about everything. Use websites, twitter, Facebook, blogs and newsletters to spread the word and constantly update people about what you are doing.

Have a range of great photos for publicity. 

We promoted all our news to the likes of Raindance and Scottish Screen who published in their newsletters. These newsletters reach their target audience and build up a presence for independent films. People start to look for your latest news. 

Tim's tips have been helpful, and I will definitely be considering ways to publicise further updates on our Twitter Facebook and website. It's also interesting to see that he didn't pay any actors, but only fed them which is interesting. Currently, i'm struggling with one character to re cast, due to commitment issues, however, I will hopefully be able to offer other things apart from payment which will ensure I have a cast who is dedicated yet still fits in the budget as Tim did.

Source: http://www.raindance.co.uk/site/index.php?id=477,5457,0,0,1,0

Major Project: Script Changes! + Research

As i've been going over my script, I wanted to make sure that everything was to a great standard before filming - does the script make sense? Can I change anything? Is everything too obvious? These are the questions going through my mind, so I began some research into some extra ways I can create a great suspenseful script without giving too much away.

Develop Your Characters

• The reader will not be thrilled by the action if he or she does not care about the characters and what happens to them. If the hero is in trouble and the villain is closing in, readers will not feel the suspense if they do not root for the hero and are not repulsed by the villain. Your villain should use mental tactics that defy convention, and your hero should be extraordinary in some capacity. Create emotional connections with characters, even minimal characters, by providing physical details and some sort of backstory. For example, readers will be more affected if you tell them that young newlyweds on their honeymoon were hit by a speeding car than if you just say a car hit two people.

Leave The Reader Hanging

• Thrillers are characterized by cliff-hangers. Connect scene to scene, and don't let the action drop. Always set up what's coming next with suspense. End each chapter with a glimpse into the next, and create tension at the last minute that will keep the reader turning pages. In a psychological thriller, the action will be primarily mental and emotional. Psychological manipulation and mind tricks will keep the reader guessing. For example, a cliff-hanger might be suspenseful as a character makes a discovery, such as your hero finding that he's been lied to or deceived.

Timing Is Everything

• Time itself is a character in a thriller. Use time to your advantage, and engage the reader by using time as a catalyst for the action. For example, your hero must race to save the love interest before the villain succeeds. Just as comedy is all about timing, suspenseful moments also must be timed perfectly. If your villain is playing a game of cat-and-mouse with your hero, carefully plan the timing of each moment the villain strikes. Don't let the reader get too comfortable. Plan light moments of relief only to plunge the reader back into fast-paced action.
  http://www.ehow.com/how_4868677_write-psychological-thriller-novel.html

  
  

  After reading these, I decided to read through my script, and see what I could improve to make sure I was always surprising the audience and leaving the reader hanging. 
  The first thing I noticed that could change was the scene were Francis is in his study and is sitting drinking whiskey near the fire. Although I love the idea of this scene, I've realised that it would make Francis' character look VERY obvious. The scene isn't too close to the end either, and as I want to try create as much tension and enigma as possible - I don't want to reveal his identity too early. Therefore, I have decided to cut this scene out completely.

When going over the script a final time, I noticed some mistakes that I can't believe I hadn't noticed before.
The first thing, was that Lucy was meant to be staying at Bethany's house for the week - however, herself and James leave with no excuse, how could I change this?
I decided to add in the idea that Lucy and James are staying at a hotel. This is much more realistic as Bethany's house is meant to be small, so they wouldn't of fit anyway. Secondly, it enriches Lucy's character of being very stuck up as her and James are staying in a hotel instead of with her sister because the house isn't up to her standard.

I also noticed that i'd made a huge mistake with the days. One of the days goes on for way too many hours.
Bethany leaves in the morning to confront Daniel, then talks to Francis outside, goes home and argues with George, and comes back out to rehearse again, bearing in mind all this was set during the day it was very unrealistic.

To fix this I decided to simply add in some dialogue for Francis. When he see's her outside, he now asks why she's still here, as she needs some rest for 'tonight' (the rehearsals).

Major Project: The Importance of Props

Props are something which we have a very lot of in our film! They are important to build the scenes, and to help distinguish a characters personality. I decided to do some research on props to establish any other uses that I can use them for or if I can get any ideas of further props to buy for the locations or characters.

''Even props that aren’t the object of any character’s desire can instill certain feelings in us, such as the dying plant in E.T. The Extra Terrestrial, Wilson from Cast Away or the leg lamp in A Christmas Story. But these items are only made significant by the story and characters that surround them and the feelings we come to attach to them.

In the end, this just goes to show you the power of cinema, and how they can make even the most mundane objects an important part of a story, character or setting. What are some of the movie props that have stuck with you over the years?''

I found video essay by Rishi Keneria on props, which was really interesting and helpful. It shows us how props can either help a scene become believable, or make it disastrous. For example, if you were to create a film based around a period (20's,80's etc) you'd have to have perfect props to establish the scene, otherwise it would look unrealistic and take the audience out of the idea of the story. Rishi describes props not only as objects, but as food, weapons, knives, drinks, musical instruments and sports equipment. Props can become iconic in films and be well known worldwide.

Reference: http://www.slashfilm.com/video-essay-movie-props/

Characters

Rishi explains that the props can represent a character and make it so whenever you think about the prop you think about the character.
An example of this can be in Inception, when Leonardo DiCaprio has the spinning top, it is used throughout the film and the film has built it up so much that there has been posters with it on and you automatically think of the character.

''A bone. A wire hanger. A polaroid. A big wheel. A Delorean. A lobster. A coffee mug. A bar of soap.

If these objects remind you of specific films, then that means they did their job as props.''

A few other examples are as follows,

The letter from Doc in Back To The Future II 

This scene is quite iconic in the film as it's a moment when something dramatic has happened and we realise that Doc is in the past. The scene is something that I think most fans would recognise if someone was to mention the letter from Doc.

Another explain is in Office Space.

Joanna's boss approaches him about her 'flair' which is all the badges and decoration on her jacket. They make such a huge deal out of it and make it quite comedic so its a memorable moment in the film. Also, they used a strange word 'flair' which makes it easy to recognise when someone says it.

''They all become their own characters, partly because director/writer Mike Judge gave these props significant amounts of screen time to interact with and affect the human characters in the film -- he gave them a life of their own; he made them important characters.''

Reference: http://nofilmschool.com/2015/10/this-video-essay-shows-how-important-props-can-be

An article on 'No Film School' also explains how props can have an effect on the film in different ways.

Convey a character's inner feelings

Editing can play a big role in connecting your character to an item that communicates how they're feeling or what they're thinking. A great example used in the video is the plastic bag Ricky Fitts films in American Beauty. His character is aimless and empty just like that beautiful, beautiful piece of trash. 

Character nuance

Patrick Bateman's business card, Juno's hamburger phone, Jules' Bad Motherfucker wallet, -- all of these props help tell the audience who these characters are. Patrick Bateman's is a skeleton of his true self ("That's bone,"), Juno is eccentric, and Jules is -- well -- he's a bad motherfucker. Ask yourself what kinds of objects would encapsulate your characters' personality.

Metaphors & Motifs

The spinning top in Inception, the snow globe in Citizen Kane, and the stuffed birds in Psycho are all examples of metaphors and motifs. But, how can they serve your story? They can be used to explain something complex without having to resort to a boring expositional scene. For instance, Kane's snow globe helps communicate his lost childhood, as well as act as a catalyst for the beginning of his story.

Passage of Time

This is related with motifs. You can use the same prop throughout your film (three is the magic number for some reason) to represent a visual passage of time.

Performing with Props

Getting good performances might be easier for your actors to do with a prop. Think of how much more interesting (and natural) a dialog scene would be if your characters had stuff in their hands, or if they were hanging up their coats, or looking through magazines.

Transitions

Using cut-ins are a great way to break up a block of dialog or action. However they should be motivated, because if you put special attention on an object, your audience is going to expect it to do something. (Remember Chekhov's Gun.) Props can also be used creatively to transition from one scene to another.

Reference: http://nofilmschool.com/2015/08/6-ways-you-can-use-simple-props-make-your-films-more-interesting

All these tips have made me think more creatively about how I can find props to go in certain aspects of our film to create more meaning and symbolism. I want a few mask props to be used on the stage scene, which means the actors will be performing with props. No Film School says that it looks more interesting and natural when characters have things in their hand. I definitely want to do this with more of the props we have as I do agree it will look more natural for them to be doing something.
I have a lot of props on my list that I need to buy and I think the amount we will have will make the scenes come to life a lot more and feel more realistic.

Props list currently.