Thursday, December 06, 2007
Release Form
TALENT RELEASE FORM
Richard Parr, Emily Fichna. NTU Multimedia course Year 2
In consideration of the sum of £27 and any other good and valuable considerations, receipt of which is hereby acknowledged, I, being of legal age, hereby give “Richard Parr, Emily Fichna. NTU Multimedia course Year 2
“, their licensees, successors, legal representatives, and assigns the absolute and irrevocable right and permission to use my name and to use, reproduce, edit, exhibit, project, display, copyright, publish and/or resell photography images and/or moving pictures and/or videotaped images of me with or without my voice, or in which I may be included in whole or in part, photographed, taped, videotaped, and/or recorded on 24/11/07 and thereafter, and to circulate the same in all forms and media for art, advertising, trade, competition of every description and/or any other lawful purpose whatsoever. I also consent to the use of any printed matter in conjunction therewith.
I hereby waive any right that I may have to inspect and/or approve the finished product or products or the editorial, advertising, or printed copy or soundtrack that may be used in connection therewith and any right that I may have to control the use to which said product, products, copy and/or soundtrack may be applied.
I hereby release, discharge and agree to save “Richard Parr, Emily Fichna. NTU Multimedia course Year 2
“ their licensees, successors, legal representatives and assigns from any liability by virtue of any blurring, distortion, alteration, optical illusion or use in composite form whether intentional or otherwise that may occur or be produced in the making, processing, duplication, projecting or displaying of said picture or images, and from liability for violation of any personal or proprietary right that I may have in conjunction with said pictures or images and with the use thereof.
AGREED AND ACCEPTED this 24th of November, 2007.
Print Name
Signature
Address : N/A
Phone: ***********
Richard Parr, Emily Fichna. NTU Multimedia course Year 2
In consideration of the sum of £27 and any other good and valuable considerations, receipt of which is hereby acknowledged, I, being of legal age, hereby give “Richard Parr, Emily Fichna. NTU Multimedia course Year 2
“, their licensees, successors, legal representatives, and assigns the absolute and irrevocable right and permission to use my name and to use, reproduce, edit, exhibit, project, display, copyright, publish and/or resell photography images and/or moving pictures and/or videotaped images of me with or without my voice, or in which I may be included in whole or in part, photographed, taped, videotaped, and/or recorded on 24/11/07 and thereafter, and to circulate the same in all forms and media for art, advertising, trade, competition of every description and/or any other lawful purpose whatsoever. I also consent to the use of any printed matter in conjunction therewith.
I hereby waive any right that I may have to inspect and/or approve the finished product or products or the editorial, advertising, or printed copy or soundtrack that may be used in connection therewith and any right that I may have to control the use to which said product, products, copy and/or soundtrack may be applied.
I hereby release, discharge and agree to save “Richard Parr, Emily Fichna. NTU Multimedia course Year 2
“ their licensees, successors, legal representatives and assigns from any liability by virtue of any blurring, distortion, alteration, optical illusion or use in composite form whether intentional or otherwise that may occur or be produced in the making, processing, duplication, projecting or displaying of said picture or images, and from liability for violation of any personal or proprietary right that I may have in conjunction with said pictures or images and with the use thereof.
AGREED AND ACCEPTED this 24th of November, 2007.
Print Name
Signature
Address : N/A
Phone: ***********
Risk Assessment
RISK ASSESSMENT
Risk Assessment Task/ Location Columbus street and other parts of Nottingham City Centre
Person Conducting the Risk Assessment Richard Parr Position Director Date 24/11/07 Signature
Supervisor of the Area Richard Parr Position Director Date 24/11/07 Signature
Notes:
Hazard Identification Risk Assessment Risk Control
Review
No. What harm can happen to people or equipment Risk
Score* List any Control Measures already implemented Describe what can be done to reduce the harm Whom
Responsible When By Are the Controls
Effective? Date Finalised
1 People or equipment could be knocked over by people passing by. Therefore damaging vital equipment and crew 6 Getting Extra Crew to divert traffic Making sure there is a secure barrier of people. Richard Parr 24/11/07 Yes 24/11/07
2 As equipment isn’t in a secure environment, there is a possibility that the equipment could be stolen and the crew could become badly injured. 8 Getting Extra Crew to look after excess equipment and also to spot any threatening behaviour. Making sure we are in a highly public place, not places like dark alleys and having extra crew on hand, safety in numbers Richard Parr 24/11/07 Yes 24/11/07
3 As we have a lot of excess wire for sound, people could fall over and injure themselves, or other people passing by, as well as the possibility of damaging equipment 5 Wires will be taped together and on the boom pole, so it won’t hand. Added awareness of the wires and more duck tape on hand Richard Parr 24/11/07 Yes 24/11/07
Risk Assessment Task/ Location Columbus street and other parts of Nottingham City Centre
Person Conducting the Risk Assessment Richard Parr Position Director Date 24/11/07 Signature
Supervisor of the Area Richard Parr Position Director Date 24/11/07 Signature
Notes:
Hazard Identification Risk Assessment Risk Control
Review
No. What harm can happen to people or equipment Risk
Score* List any Control Measures already implemented Describe what can be done to reduce the harm Whom
Responsible When By Are the Controls
Effective? Date Finalised
1 People or equipment could be knocked over by people passing by. Therefore damaging vital equipment and crew 6 Getting Extra Crew to divert traffic Making sure there is a secure barrier of people. Richard Parr 24/11/07 Yes 24/11/07
2 As equipment isn’t in a secure environment, there is a possibility that the equipment could be stolen and the crew could become badly injured. 8 Getting Extra Crew to look after excess equipment and also to spot any threatening behaviour. Making sure we are in a highly public place, not places like dark alleys and having extra crew on hand, safety in numbers Richard Parr 24/11/07 Yes 24/11/07
3 As we have a lot of excess wire for sound, people could fall over and injure themselves, or other people passing by, as well as the possibility of damaging equipment 5 Wires will be taped together and on the boom pole, so it won’t hand. Added awareness of the wires and more duck tape on hand Richard Parr 24/11/07 Yes 24/11/07
Concept Blurb
Concept/Outline
The Big Issue
This documentary attempts to grasps the publics opinion towards Big Issue sellers as whole and follow a local Big Issue vender (Called Leighton) on a typical day to see if these opinions are entirely true. Richard Parr (Presenter and Director) asks probing questions and encourages honest answers. This documentary also touches on how Big Issue, the company keeps people like Leighton Goffe in the dark about what the company’s profit is going towards. It finishes with abrupt end, allowing the audience to decide if the stereotypes of a big issue seller is entirely correct.
The Big Issue
This documentary attempts to grasps the publics opinion towards Big Issue sellers as whole and follow a local Big Issue vender (Called Leighton) on a typical day to see if these opinions are entirely true. Richard Parr (Presenter and Director) asks probing questions and encourages honest answers. This documentary also touches on how Big Issue, the company keeps people like Leighton Goffe in the dark about what the company’s profit is going towards. It finishes with abrupt end, allowing the audience to decide if the stereotypes of a big issue seller is entirely correct.
Transcript
Transcript
Opening
Richard:
Hey, My name is Richard Parr and I’m trying to do a documentary on Big Issue sellers and trying to find out what the public think about them in one work.
Vox 1
Rough
Vox 2
In your face
Vox 3
Polite
Vox 4
As a nu-cense
Vox 5
A con
Richard
Are these opinions correct? I’m going to try and find out and follow a Big Issue Seller named Leighton for the Day.
Leighton
Rich, Hows it going? Are you alright mate?
Richard
Had a good day?
Leighton
Not too bad
Richard
Erm, so where did you stop last night?
Leighton
I stopped last night at an er.. just at er.. somebody’s sofa
Richard
Yeah
Leighton
I was sofa surfing last night
Richard
Yeah
Leighton
You know, just tryi..
Richard
So where do you usually sleep?
Leighton
Air, dair and everywhere (here, there and everywhere), where ever I can get my head down really.
Richard
Erm
Leighton
You know what I mean
Richard
How long you been selling the Big Issue?
Leighton
Been selling the big issue now… on and off, for 7 years,
Richard
7 years
Leighton
Yeah, as I’ve been homeless, then I had somewhere to live, then I stopped, but then yeah, about 7 years now.
Richard
So, what did you do before then?
Leighton
Before I sold the big issue, I was a bit of a Rogue and I used to get into trouble all the time and er, then yeah you know, I became homeless, then living in hostels. Knocking around with the wrong people. And er I got myself into trouble, I went to prison. When I got out of prison I started selling the big issue and I haven’t looked back ever since. I haven’t been in trouble since.
Richard
You know if you er, didn’t, you know, sell the big issue, what would you want to be?
Leighton
Gosh! I would to have my own market stall or have my own shop. Yeah, I would like my own business.
Richard
What profit do you get from the big issue?
Leighton
I make 80p, from every copy and that’s at £1.50.
Richard
And what do er, the big issue do with the profit.?
Leighton
The Big Issue, what the company?
Richard
Yeah
Leighton
There profit… well I don’t know what they do with the profit.
Leighton
When, when there’s a vender on the body shop, which is the next pitch down from me, that effects my custom.
Richard
Arrrr
Leighton
Because a lot of people are walking up that way.
Leighton
The money that I used, The Big issues that I sold earliar, They money that I made from them, I had to buy more big issues, spent all of that on big issues, so like I’ve got a load of big issues, then I can start making a bit of profit then, you know what I mean man?
Richard
Yeah, I know what your saying man.
Leighton
So I’ve saved a little bit of money, so I can buy something to eat and er I will be back on my pitch and rearing to go.
Richard
So how can you afford a subway then? Because obviously, you know, you, people, you know, subway is like a big corporate thing. You know what I mean?
Leighton
Yeah, Well I only got a subway because I got the vouchers
Richard
Yeah
Leighton
I see the guy in town every day, handing out the vouchers near where I sell the big issue, so luckily, you know, luckily I seen one of the vouchers on the floor the other day, one of the vouchers, so I picked it up.
Richard
If you had some power in the world, what would you do or er, homeless people?
Leighton
Well, I’d, I’d get all of them, like derelict buildings I walk and see that they’ve just been there, for you know, a couple years, just stood there, nothing done to them. You know, I’d change, turn them into night shelters.
Richard
It was my time to go, so I bid Leighton farewell and wished him good luck, on journey which seemed so uncertain.
Opening
Richard:
Hey, My name is Richard Parr and I’m trying to do a documentary on Big Issue sellers and trying to find out what the public think about them in one work.
Vox 1
Rough
Vox 2
In your face
Vox 3
Polite
Vox 4
As a nu-cense
Vox 5
A con
Richard
Are these opinions correct? I’m going to try and find out and follow a Big Issue Seller named Leighton for the Day.
Leighton
Rich, Hows it going? Are you alright mate?
Richard
Had a good day?
Leighton
Not too bad
Richard
Erm, so where did you stop last night?
Leighton
I stopped last night at an er.. just at er.. somebody’s sofa
Richard
Yeah
Leighton
I was sofa surfing last night
Richard
Yeah
Leighton
You know, just tryi..
Richard
So where do you usually sleep?
Leighton
Air, dair and everywhere (here, there and everywhere), where ever I can get my head down really.
Richard
Erm
Leighton
You know what I mean
Richard
How long you been selling the Big Issue?
Leighton
Been selling the big issue now… on and off, for 7 years,
Richard
7 years
Leighton
Yeah, as I’ve been homeless, then I had somewhere to live, then I stopped, but then yeah, about 7 years now.
Richard
So, what did you do before then?
Leighton
Before I sold the big issue, I was a bit of a Rogue and I used to get into trouble all the time and er, then yeah you know, I became homeless, then living in hostels. Knocking around with the wrong people. And er I got myself into trouble, I went to prison. When I got out of prison I started selling the big issue and I haven’t looked back ever since. I haven’t been in trouble since.
Richard
You know if you er, didn’t, you know, sell the big issue, what would you want to be?
Leighton
Gosh! I would to have my own market stall or have my own shop. Yeah, I would like my own business.
Richard
What profit do you get from the big issue?
Leighton
I make 80p, from every copy and that’s at £1.50.
Richard
And what do er, the big issue do with the profit.?
Leighton
The Big Issue, what the company?
Richard
Yeah
Leighton
There profit… well I don’t know what they do with the profit.
Leighton
When, when there’s a vender on the body shop, which is the next pitch down from me, that effects my custom.
Richard
Arrrr
Leighton
Because a lot of people are walking up that way.
Leighton
The money that I used, The Big issues that I sold earliar, They money that I made from them, I had to buy more big issues, spent all of that on big issues, so like I’ve got a load of big issues, then I can start making a bit of profit then, you know what I mean man?
Richard
Yeah, I know what your saying man.
Leighton
So I’ve saved a little bit of money, so I can buy something to eat and er I will be back on my pitch and rearing to go.
Richard
So how can you afford a subway then? Because obviously, you know, you, people, you know, subway is like a big corporate thing. You know what I mean?
Leighton
Yeah, Well I only got a subway because I got the vouchers
Richard
Yeah
Leighton
I see the guy in town every day, handing out the vouchers near where I sell the big issue, so luckily, you know, luckily I seen one of the vouchers on the floor the other day, one of the vouchers, so I picked it up.
Richard
If you had some power in the world, what would you do or er, homeless people?
Leighton
Well, I’d, I’d get all of them, like derelict buildings I walk and see that they’ve just been there, for you know, a couple years, just stood there, nothing done to them. You know, I’d change, turn them into night shelters.
Richard
It was my time to go, so I bid Leighton farewell and wished him good luck, on journey which seemed so uncertain.
Reflection
I believe Emily Fichna and I worked well together, she did a great job with the sound (as it was hard to not get atmosphere sound and focus on mine and Leighton's voices), she also came up with helpful suggestions in editing, such as how long a certain should be and showed me some techniques such as how to render particular parts and how to export as a WMV.
Moreover, I believe my part in this project was massive! As we only had 2 people within our group, I took most of the responsibilities. I found the subject, did my background research on the subject, also I did research on Participatory documentaries, which helped a lot with my vision on how the film should look and sound like. I organised the group, told what was needed and when, I booked out the equipment, I organised extra crew, I told the whole crew what I wanted the film to look (framing o the camera and the lighting(reflectors)) and sound like (boom pole, how it should be held to pick up great sound and stay out of shot). I created a checklist of what was needed to be filmed, asked and protected(safety precautions) I presented and interviewed Leighton. I also edited most of the film and I also did the voice over and some cutaway camera work.
The organisation for the project was well structured and we completed the project well in front of the deadline.
If I had to change anything, I would take up Debra's advice of Moving shots work with moving shots, and still shots work with still. Not together. It would of produced a much smother film. Also I would gathered more relevant cutaways. Moreover, I would recorded the voice over with a K6 Mic instead of an Edirol R09 kit, as it doesn't pick enough volume, and I would of had more people in the group, so it would of took pressure of my shoulders.
However, overall, the project went perfectly to plan and was excellently within the time limit.
Moreover, I believe my part in this project was massive! As we only had 2 people within our group, I took most of the responsibilities. I found the subject, did my background research on the subject, also I did research on Participatory documentaries, which helped a lot with my vision on how the film should look and sound like. I organised the group, told what was needed and when, I booked out the equipment, I organised extra crew, I told the whole crew what I wanted the film to look (framing o the camera and the lighting(reflectors)) and sound like (boom pole, how it should be held to pick up great sound and stay out of shot). I created a checklist of what was needed to be filmed, asked and protected(safety precautions) I presented and interviewed Leighton. I also edited most of the film and I also did the voice over and some cutaway camera work.
The organisation for the project was well structured and we completed the project well in front of the deadline.
If I had to change anything, I would take up Debra's advice of Moving shots work with moving shots, and still shots work with still. Not together. It would of produced a much smother film. Also I would gathered more relevant cutaways. Moreover, I would recorded the voice over with a K6 Mic instead of an Edirol R09 kit, as it doesn't pick enough volume, and I would of had more people in the group, so it would of took pressure of my shoulders.
However, overall, the project went perfectly to plan and was excellently within the time limit.
A brief checklist which outlines booking, onset and offset
Checklist
□ Book 2 x K6 Mic Full Kits
□ Book 2 x Reflector
□ Book 1 x K6 extension cable
□ Book 1 x Sound Recorder
□ Book 1 x VX2000
□ Book 1 x Headphones
□ Book 1 x Standard Tripod
□ Book 1 x Carry case
□ Book 1 x Boom Pole
□ Check all works
Onsite Checklist
□ Meet at 10.30 am
□ Safety speech
□ Safety check (see rece sheet)
□ Tape wires around boom pole
□ Set up
□ Tell crew how you want it to look and sound
□ Get introduction shot
□ Get Vox pops
□ Meet Leighton at 12pm
□ Ask all specified questions and more
□ Get cutaways:
□ Leighton (different angles, with Richard in shot aswell)
□ Nottingham
□ Big Issue
□ Get Leighton to sign release form
□ Film ending sequence
□ De-brief crew
□ Pack up
Offsite Checklist
□ Watch footage several times
□ Mark time codes
□ Capture all the footage
□ Edit
□ Voiceover
□ Transcript
□ Save some cuts
□ Convert for DV AVI
□ Convert or Youtube (WMV)
□ Burn to DVD and data disc for handing in
□ Make sure all paper work is finished
□ Book 2 x K6 Mic Full Kits
□ Book 2 x Reflector
□ Book 1 x K6 extension cable
□ Book 1 x Sound Recorder
□ Book 1 x VX2000
□ Book 1 x Headphones
□ Book 1 x Standard Tripod
□ Book 1 x Carry case
□ Book 1 x Boom Pole
□ Check all works
Onsite Checklist
□ Meet at 10.30 am
□ Safety speech
□ Safety check (see rece sheet)
□ Tape wires around boom pole
□ Set up
□ Tell crew how you want it to look and sound
□ Get introduction shot
□ Get Vox pops
□ Meet Leighton at 12pm
□ Ask all specified questions and more
□ Get cutaways:
□ Leighton (different angles, with Richard in shot aswell)
□ Nottingham
□ Big Issue
□ Get Leighton to sign release form
□ Film ending sequence
□ De-brief crew
□ Pack up
Offsite Checklist
□ Watch footage several times
□ Mark time codes
□ Capture all the footage
□ Edit
□ Voiceover
□ Transcript
□ Save some cuts
□ Convert for DV AVI
□ Convert or Youtube (WMV)
□ Burn to DVD and data disc for handing in
□ Make sure all paper work is finished
Questions
Question List
Here are some questions I have devised to try and get the best out of Leighton
Are you homeless?
Where do you usually sleep?
How long have you been homeless?
How long have you been a big issue seller?
What did you do before you sold the big issue?
Do you take drugs? If so what and why?
Why can’t you get a home?
Why don’t you try and get a different job?
Do you like being a big issue seller?
What are your friends like?
I you could have any job, what would it be?
What did you want to be when you were a child?
Have you got a girlfriend?
Have you got kids?
How often do you see you kids?
Do you contribute to your kids?
What was you childhood like?
Where are your parents?
Do your parents help you out?
If you had a position of power, how would you help homeless people?
Ask more on set as the conversations develop.
Here are some questions I have devised to try and get the best out of Leighton
Are you homeless?
Where do you usually sleep?
How long have you been homeless?
How long have you been a big issue seller?
What did you do before you sold the big issue?
Do you take drugs? If so what and why?
Why can’t you get a home?
Why don’t you try and get a different job?
Do you like being a big issue seller?
What are your friends like?
I you could have any job, what would it be?
What did you want to be when you were a child?
Have you got a girlfriend?
Have you got kids?
How often do you see you kids?
Do you contribute to your kids?
What was you childhood like?
Where are your parents?
Do your parents help you out?
If you had a position of power, how would you help homeless people?
Ask more on set as the conversations develop.
Satellite Bureau
Me, Les and Sid went to the grand opening of the multimedia art exhibition called "trampoline", to try and find an interesting piece to talk about, at first, it seemed a little bit pointless for the first 20 minutes. Then I discovered this piece called the "satellite bureau", this piece seemed interesting. What it entailed was several people round Nottingham and a few in Canada were walking round with devices which gave off GPRS signals, now these signals were transmitted to the Broadway and onto the exhibitions server, these signals were than converted into lines, these lines were projected on a white board, each person had there own colour, so you could easily follow who's who. The only downfall was that it just had a white background, it would of been much more interesting if there was a way to show some sort of map of the city and give an accurate reading on where they are.
This could be used in many things, such as in the Army (tracking fallen soldiers or air crafts), the Police force (tracking people with an ASBO or a tag) or even in a big brother society (track your lover or children).
This could be used in many things, such as in the Army (tracking fallen soldiers or air crafts), the Police force (tracking people with an ASBO or a tag) or even in a big brother society (track your lover or children).
Script Task B 1/12/07
Using affection or anger, through dialogue hint at how
B
Feels about
A
Without directly saying so
You have 2, 4 or 6 lines only to do it in.
One line must have one character interrupting the other
One line must answer a question with a question
B
Right Tony, why was your regime such an utter failure?
A
Was it a failure?
B
By God! Of course it was, especially the last 3 years of it! You made me feel like an utter fo..
A
Excuse my good Sir, I don’t see the relevance of how you feel to this question.
B
Well, I believe it does. You’ve left me with this shit, how can I get out of it? This is your doing!
A
My honourable sir, please leave my chamber.
B
Feels about
A
Without directly saying so
You have 2, 4 or 6 lines only to do it in.
One line must have one character interrupting the other
One line must answer a question with a question
B
Right Tony, why was your regime such an utter failure?
A
Was it a failure?
B
By God! Of course it was, especially the last 3 years of it! You made me feel like an utter fo..
A
Excuse my good Sir, I don’t see the relevance of how you feel to this question.
B
Well, I believe it does. You’ve left me with this shit, how can I get out of it? This is your doing!
A
My honourable sir, please leave my chamber.
Script Task 1/12/07
Part 1 – 15 Mins
2 people have to pass on bad news. You cannot mention the news.
A
What are we going to do about this?
B
I dunno
A
Well, we’ve got to do something
B
Why?
A
Because if we don’t he’ll find out another way and the have our heads off for informing him
B
On the other side, if we tell him, he might be so overwhelmed with anger and we will suffer the same fait
A
Well, how about this…. If we sort out the situation ourselves, he will see how loyal we are and spare our lives and possibly promote us!
B
How could we possibly sort out this chaos?
A
Well, erm…. Ok, ok! Not the best plan I’ve come up with.
B
It’s not the worst either
A
… ok, what if we cover it up, cover it up so good that he won’t find out!
B
Hmmm, you might be on to something. We could just sweep it under the carpet.
A
How can we sweep that under the carpet?
B
It’s an expression you fool!
A
…Ok, well I’ll get the broom
A leaves the room, slightly baffled but bemused at the same time.
B
Damn fool
FIN
2 people have to pass on bad news. You cannot mention the news.
A
What are we going to do about this?
B
I dunno
A
Well, we’ve got to do something
B
Why?
A
Because if we don’t he’ll find out another way and the have our heads off for informing him
B
On the other side, if we tell him, he might be so overwhelmed with anger and we will suffer the same fait
A
Well, how about this…. If we sort out the situation ourselves, he will see how loyal we are and spare our lives and possibly promote us!
B
How could we possibly sort out this chaos?
A
Well, erm…. Ok, ok! Not the best plan I’ve come up with.
B
It’s not the worst either
A
… ok, what if we cover it up, cover it up so good that he won’t find out!
B
Hmmm, you might be on to something. We could just sweep it under the carpet.
A
How can we sweep that under the carpet?
B
It’s an expression you fool!
A
…Ok, well I’ll get the broom
A leaves the room, slightly baffled but bemused at the same time.
B
Damn fool
FIN
Leighton Meeting
OK, I have confirmed Leighton for the doc. I would just like to share with you some research about Leighton that I've found out.
His Name is Leighton Goffe
He has 2 kids
Had a 7 year relationship until his girlfriend cheated on him with a friend of his, after this he became homeless
He used to be in a bit of trouble with the law, offences like burglary.
He was sent to prison for 6 months
After prison he starting selling the big issue
He hasn't been in trouble since he left prison
He doesn't do any sort of illegal drugs accept the occasional weed, which was about 3+ years ago.
He is homeless
He has slept on the streets hundreds of times (most of the times in winter)
He has lived in Birmingham, Scunthorpe, Nottingham and a town in Scotland, which I forget.
He cannot get housed permanently in Nottingham, and is awaiting housing in Birmingham
He earns 70p for every big issue he sells. (80p profit go to the big issue)
I will base my questions on for the documentary on this former research, to try and expose Leighton for his true self.
This meeting was very constructive and will help me produce a much better film than without it.
His Name is Leighton Goffe
He has 2 kids
Had a 7 year relationship until his girlfriend cheated on him with a friend of his, after this he became homeless
He used to be in a bit of trouble with the law, offences like burglary.
He was sent to prison for 6 months
After prison he starting selling the big issue
He hasn't been in trouble since he left prison
He doesn't do any sort of illegal drugs accept the occasional weed, which was about 3+ years ago.
He is homeless
He has slept on the streets hundreds of times (most of the times in winter)
He has lived in Birmingham, Scunthorpe, Nottingham and a town in Scotland, which I forget.
He cannot get housed permanently in Nottingham, and is awaiting housing in Birmingham
He earns 70p for every big issue he sells. (80p profit go to the big issue)
I will base my questions on for the documentary on this former research, to try and expose Leighton for his true self.
This meeting was very constructive and will help me produce a much better film than without it.
Documentary Research
I have this vision on how my documentary should be set out.
I believe it should be a participatory documentary with a hint of an observational style.
I would like to take place in this doc whilst directing at the same time. That might seem like a hard job but I believe its totally possible.
I decided to research into different participatory documentaries and see what they have done success full.
I watched 2 Micheal Moore Films
Bowling for Columbine () by Michael Moore
http://www.youtube.com/watch?v=hQo-orO8UHU
Fahrenheit 9/11 () by Michael Moore
http://www.youtube.com/watch?v=2Zf2nCiBJLo
I found these films very interesting, I believe having Micheal in shot for a lot of the time is a good technique for many reasons, for example:
No need for many nodding shot cutaways
Makes the audience feel more involved (making them feel like they are walking and following the action step by step)
etc
Also this style feels very natural, SLIGHTLY fly on the wall.
Another director I looked at was Nick Broomfield
Life and Death of a Serial Killer" (2003) by Nick Broomfield. http://www.youtube.com/watch?v=yFBcjII3QAE
Biggie and Tupac (2002) by Nick Broomfield
http://www.youtube.com/watch?v=o3BTfIcFwFY
Now I preferred this director because his style is very similar to how I vision my style for the doc. Especially in Biggie and Tupac. As he is on the streets/ghettos following his subject round and trying to get constant interviews, this is a perfect example to base my doc on as hopefully I will be following a Big Issue Seller round town and having shots on the move as well as static.
Seeing these examples, I would like to use the technique of having the camera handheld, this giving the doc a more urban/natural style, which will hopefully enforce my subjects situation and involve the audience more, giving them a sense that they are with me and Leighton, watching the question unfold.
I believe it should be a participatory documentary with a hint of an observational style.
I would like to take place in this doc whilst directing at the same time. That might seem like a hard job but I believe its totally possible.
I decided to research into different participatory documentaries and see what they have done success full.
I watched 2 Micheal Moore Films
Bowling for Columbine () by Michael Moore
http://www.youtube.com/watch?v=hQo-orO8UHU
Fahrenheit 9/11 () by Michael Moore
http://www.youtube.com/watch?v=2Zf2nCiBJLo
I found these films very interesting, I believe having Micheal in shot for a lot of the time is a good technique for many reasons, for example:
No need for many nodding shot cutaways
Makes the audience feel more involved (making them feel like they are walking and following the action step by step)
etc
Also this style feels very natural, SLIGHTLY fly on the wall.
Another director I looked at was Nick Broomfield
Life and Death of a Serial Killer" (2003) by Nick Broomfield. http://www.youtube.com/watch?v=yFBcjII3QAE
Biggie and Tupac (2002) by Nick Broomfield
http://www.youtube.com/watch?v=o3BTfIcFwFY
Now I preferred this director because his style is very similar to how I vision my style for the doc. Especially in Biggie and Tupac. As he is on the streets/ghettos following his subject round and trying to get constant interviews, this is a perfect example to base my doc on as hopefully I will be following a Big Issue Seller round town and having shots on the move as well as static.
Seeing these examples, I would like to use the technique of having the camera handheld, this giving the doc a more urban/natural style, which will hopefully enforce my subjects situation and involve the audience more, giving them a sense that they are with me and Leighton, watching the question unfold.
Just discovered the perfect talent
I was walking down Columbus Street about 4 hours ago, I was approached by a big issue seller, asking me if I wanted a Big Issue. I said "yes". I bought it off him, then he replied "is it possible for me to sell it on, it's my last one". At that point something struck me and I felt like this guy was a good candidate for my coursework. So I replied "Yea, that's totally fine, but would could you do me a favour?", He asked "what?", I continued to explain my proposition and he seemed very eager. I took his phone number so we could meet up again and talk about him more in depth.
His name was Leighton, I didn't catch his last name.
His name was Leighton, I didn't catch his last name.
The Caine Treatment
The Caine
Traits
Observant
Fearless
Compassionate
Experienced
Lighting Reactions
Set in 1982, Officer Caine (a Caucasian London Lad) has been with the London Metropolitan police force for 3 years. He starts to have an intermit relationship with an afro-Caribbean women named Philisha.
Philisha, shows PC Caine a new way of life and thinking. She shows him how Mixed Race people are mistreated in the media (BBC News – Black Male commits crime. The Sun – Black people taking 10,000 jobs away from British worker) aswell as everyday life (Get out of my shop you N****r).
PC Caine and his superior, Sergeant Vince decide to go on the beat around east London. On the beat, Sergeant Vince decides to perform a “routine” check on a Black youth (aged 17), the youth back chats Vince by illuminating the fact the Sergeant is being biased on his searches amongst Black and Mixed raced people. The Sergeant doesn’t like this and after a barrage of truth, he flips and beats the youths face against the pavement, and the final blow of his truncheon to the temple kills the in an instant.
Later on this attack is found out, Sergeant Vince threatens PC Caine’s job, as Caine is the only witness to convict him. However Vince offers Caine a major raise for his loyalty.
Caine searches for advice from Philisha. Philisha threatens to leave him if he doesn’t testify.
Caine is stook between Philisha and Vince. He decides to testify to savour his relationship.
The trial takes place, PC Caine gives is testimony which convicts Vince,Philisha is part of the court room audience, they smile at eachother. Vince is screaming and bombarding Caine with angry remarks. Suddenly, a burst of the court room doors, a colleague of PC Caine shouts “You need to see this first”, everyone is puzzled, including PC Caine and Sergeant Vince. The colleague passes the Judge a CCTV tape, it is played infront of court room, the tape shows evidence of PC Caine beating this 17 year youth, with Sergeant Vince nowhere to be seen. Instantly PC Caine is handcuffed whilst the crowd gasps and Philisha just stares straight forward in thin air, just no reaction. PC Caine screams “it wasn’t me, its a set up”. Later on PC Caine is charged with murder, abuse of power and intent to pervert justice. He sent to a maximum security prison with a life sentence and no right for an appeal.
Moreover, the style of the film changes, imitating the conventions of an investigative documentary. The documentary follows interviews with Mr Caine and CCTV footage of Mr Caine’s counselling footage. This footage and interviews with Mr Caine and his counsellor, come to a conclusion of him having mental health problems, these problems relating to him believing that he was with and interacting with Sergeant Vince in beating and events which followed it. Ending with the fact that PC Caine will finish his sentence when he is 55 and will b them emitted to a psychiatric ward until he dies.
Traits
Observant
Fearless
Compassionate
Experienced
Lighting Reactions
Set in 1982, Officer Caine (a Caucasian London Lad) has been with the London Metropolitan police force for 3 years. He starts to have an intermit relationship with an afro-Caribbean women named Philisha.
Philisha, shows PC Caine a new way of life and thinking. She shows him how Mixed Race people are mistreated in the media (BBC News – Black Male commits crime. The Sun – Black people taking 10,000 jobs away from British worker) aswell as everyday life (Get out of my shop you N****r).
PC Caine and his superior, Sergeant Vince decide to go on the beat around east London. On the beat, Sergeant Vince decides to perform a “routine” check on a Black youth (aged 17), the youth back chats Vince by illuminating the fact the Sergeant is being biased on his searches amongst Black and Mixed raced people. The Sergeant doesn’t like this and after a barrage of truth, he flips and beats the youths face against the pavement, and the final blow of his truncheon to the temple kills the in an instant.
Later on this attack is found out, Sergeant Vince threatens PC Caine’s job, as Caine is the only witness to convict him. However Vince offers Caine a major raise for his loyalty.
Caine searches for advice from Philisha. Philisha threatens to leave him if he doesn’t testify.
Caine is stook between Philisha and Vince. He decides to testify to savour his relationship.
The trial takes place, PC Caine gives is testimony which convicts Vince,Philisha is part of the court room audience, they smile at eachother. Vince is screaming and bombarding Caine with angry remarks. Suddenly, a burst of the court room doors, a colleague of PC Caine shouts “You need to see this first”, everyone is puzzled, including PC Caine and Sergeant Vince. The colleague passes the Judge a CCTV tape, it is played infront of court room, the tape shows evidence of PC Caine beating this 17 year youth, with Sergeant Vince nowhere to be seen. Instantly PC Caine is handcuffed whilst the crowd gasps and Philisha just stares straight forward in thin air, just no reaction. PC Caine screams “it wasn’t me, its a set up”. Later on PC Caine is charged with murder, abuse of power and intent to pervert justice. He sent to a maximum security prison with a life sentence and no right for an appeal.
Moreover, the style of the film changes, imitating the conventions of an investigative documentary. The documentary follows interviews with Mr Caine and CCTV footage of Mr Caine’s counselling footage. This footage and interviews with Mr Caine and his counsellor, come to a conclusion of him having mental health problems, these problems relating to him believing that he was with and interacting with Sergeant Vince in beating and events which followed it. Ending with the fact that PC Caine will finish his sentence when he is 55 and will b them emitted to a psychiatric ward until he dies.
Writing for screen media - show me don't tell me
Writing for Screen Media
“Show Me, Don’t tell me”
Heart of Drama.
Converting feelings, intentions and character traits into action and behaviour is essential to establish understanding of character.
Some Principles
Writing with precision
Use images not camera cues
Character vs Voice
Character is defined through action
Voice is the way a person presents him/herself to the world
Working with dialogue
Dialogue should reveal character
It should illustrate what people are thinking, felling, wanting.
It shouldn’t necessarily directing broadcast these things directly
Words and grammar define voice
Dialogue Questions
Dialogue as transition (changes in story time)
Dialogue to intensify tension
Dialogue to relieve tension
Dialogue and realism – convince or to undermine reality?
Conclusions
Dialogue is an opportunity to further emotional drive of the story.
Dialogue is as much part of the action as the visualised actions.
It is important but as David Freeman says
“Paint on the house doesn’t make the house stand up”
Less is usually better than more. It allows space for subtext
Subtext definition
1. The implicit meaning or theme of a literary text.
2. The underlying personality of a dramatic character as implied or indicated by a script or text and interpreted by an actor in performance.
“Show Me, Don’t tell me”
Heart of Drama.
Converting feelings, intentions and character traits into action and behaviour is essential to establish understanding of character.
Some Principles
Writing with precision
Use images not camera cues
Character vs Voice
Character is defined through action
Voice is the way a person presents him/herself to the world
Working with dialogue
Dialogue should reveal character
It should illustrate what people are thinking, felling, wanting.
It shouldn’t necessarily directing broadcast these things directly
Words and grammar define voice
Dialogue Questions
Dialogue as transition (changes in story time)
Dialogue to intensify tension
Dialogue to relieve tension
Dialogue and realism – convince or to undermine reality?
Conclusions
Dialogue is an opportunity to further emotional drive of the story.
Dialogue is as much part of the action as the visualised actions.
It is important but as David Freeman says
“Paint on the house doesn’t make the house stand up”
Less is usually better than more. It allows space for subtext
Subtext definition
1. The implicit meaning or theme of a literary text.
2. The underlying personality of a dramatic character as implied or indicated by a script or text and interpreted by an actor in performance.
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