Goober NTU Blog (Richard Parr)

Live Client Project Schedule

2009-01-14T09:05:00.000-08:00

Sid and I have produced aschedule for our live client,it shows 220 hours of work, we used excel, so it cannot be published onto blogger correctly.

Research project, practice based

2009-01-14T09:04:00.000-08:00

Personal Research Project MMPR30020
Practice Based Research Agreement Form

To be completed by the student and when agreement reached to be signed by both student and supervisor. When complete to be handed in to the Administrator Office WAV128 before Tuesday 3.30 pm 16/12/2008

ANSWER ALL QUESTIONS (a) TO (j) BELOW

(a) Please state the ‘question’ that the ‘research via practise’ (terms 2 and 3) will try to answer or explore?

How has media enhancements effected the class divisions of social realism and their creators?

(b) What type of artefacts/experiments that will be produced/conducted (e.g. short video clips, short animation sequences, building visualisation, audio listening tests with focus groups e.t.c.)? Note it is accepted that this may change as the research progresses past the first few artefacts.

I might create film clips, surveys and create focus groups.

(c) Have you checked that the research meets the university ethical guidlines and will not require approval (if NOT checked or it requires approval then state the date on which you expect to obtain approval)? IF UNSURE WHAT THIS MEANS TALK TO YOUR SUPERVISOR!

Yes

(d) Have you checked that appropriate resources and facilities exist for you to produce/conduct the artefacts/experiments (If NO then explain how you will obtain the required appropriate resources and facilities)?

Yes

(e) How will you evaluate and/or reflect on the artefacts/experiments produced/conducted in (b) above (e.g. reflection, survey, focus group, statistical analysis e.t.c.)?

I will possibly evaluate my experiments by reflection, focus groups and statistical analysis.

(f) Please write down below the preparatory work you will do for the first artefact over the Christmas period:

I will gather information on avaialable renatal cinema room and organise a varied focus group

(g) What is the detail of the first artefact that will be demonstrated to the supervisor?

I will get a focus group to watch to social realistic films, from two directors from different backgrounds, maybe Shane Meadows and Ken Loach. I will get them to answer a survey and post these answers on my online journal. Using the survey, I will try and find out what each person liked and disliked about the film, possibly find out what the focus group would of liked to add.

(h) On what date will the first artefact be shown to the supervisor? Please remember that on this date you will also provide a short 300 word evaluation and/or reflection summary as well as the actual artefact.

Artefact 1- 03/02/09
Artefact 2- 16/02/09
Artefact 3- 03/03/09
Artefact 4-17/03/09
Artefact 5- 21/04/09
Artefact 6- 05/05/09

(i) How will you present the research conclusions from the artefacts/experiments and evaluations during week 43 (e.g. written document, slides and/or documentary film)? PLEASE NOTE THAT THE RESEARCH CONCLUSIONS MUST BE IN A FORM THAT CAN BE HANDED IN IMMEDIATELY AFTER THE PRESENTATION i.e. a permanent record of your conclusions and arguments needs to be submitted immediately after the presentation in week 43.

Possibly an evaluation document and slides

(j) On what date will you be presenting your draft research conclusions to the supervisor for review (it is suggested 2 weeks before week 43 presentations)?

05/05/09

Student Name and Signature (remember to keep an electronic or paper copy and hand original in to WAV128 Administrator Office)

University ID: N0144872

Name: Richard Parr

Signature: Date: 11/12/08

Supervisor Name and Signature

Name: Julius Ayodeji

Signature: Date:

Final draft of research project essay

2009-01-14T08:57:00.000-08:00

Richard Parr
N0144872
Research Project

How has media enhancements effected the class divisions of social realism and their creators?

Acknowledgements

I would like thank my tutor Julius Ayodeji for the guidance he has given me for this document. Also I would like to thank the other members within the tutor group as they helped me produce this document by suggesting some relevant ideas.

Abstract

This document explores the question “How has media enhancements effected the class divisions of social realism and their creators?” by using qualitative and secondary research methods to gather my evidence on the subject. The document explores social realism across five decades, examining what equipment was available at the time and analysing the significance of this equipment towards effecting class divisions within social realism. Specifically, it covers enhancements such as the Hi 8 format, Mini DV digital format, the Oakely Red one industry standard digital video camera and web based video sites such as youtube and blog tv. Using the information about the new enhancements, the document examines how this effects the social class divisions by looking at some key creators at the time of these enhancements. The document mainly focuses on Ken Loach, Mike Leigh, Shane Meadows and Paul Abbott. The document discusses the development of the social class of the creators of social realism and defines how media enhancements have influenced these changes.
Moreover, it continues to discuss the success of Ken Loach and Shane Meadows, the findings seemed to be Ken Loach over powers Shane Meadows on box office results, however, Shane Meadows has a better outcome in the rewards aspect.
To conclude, the evidence discovered suggests that media enhancements have effected the class divisions of social realism and their creators, allowing the working class to create their own material. However, the genre is still over powered by the original middle class creators. In addition, future media enhancements look promising to eliminate any class division in social realism, mass film and broadcast television, as technology will be so advanced and cheap, allowing anyone to create their high quality work.

Contents

Acknowledgements 2
Abstract 3
Contents 4
List of illustrations 5
Chapter One – Introduction and context 6
Chapter Two – Research Method 7
Chapter Three – Survey of literature and works 8
Chapter four – Discussion 13
Chapter five – Conclusion 15
References 16
Bibliography 18
Appendices 20

List of illustrations

Figure 1 Peter Wintonick http://farm1.static.flickr.com/104/285595107_08ed81b3f4.jpg?v=0 Page 8
Figure 2 Robert Drew http://www.museum.tv/archives/etv/D/htmlD/drewrobert/drewrobertIMAGE/drewrobert.jpg Page 8
Figure 3 Ken Loach http://blogs.guardian.co.uk/film/ken_loach_cannes2006.jpg Page 8
Figure 4 Mike Leigh http://www.filmreference.com/images/sjff_02_img0742.jpg Page 9
Figure 5 Hi-8 http://ecx.images-amazon.com/images/I/51S3GGWR38L._SL500_AA280_.jpg Page 9
Figure 6 Mini DV http://www.videovaultne.com/images/miniDV_full.jpg Page 10
Figure 7 Shane Meadows http://www.virginmedia.com/images/shanemeadows400.jpg Page 10
Figure 8 Paul Abbott http://cache.gettyimages.com/xc/52071317.jpg?v=1&c=ViewImages&k=2&d=17A4AD9FDB9CF19390335F8FA9CA92A6B001D4F373B266BA8BC3F87336C851A1 Page 11
Figure 9 Youtube http://matcmadison.edu/cetl/resources/archive/images/youtube_logo.jpg Page 11
Figure 10 premiere Pro http://www.manifest-tech.com/images/links/vid_gallery_scr/adobe_premiere_pro20_scr.jpg Page 11
Figure 11 Blogtv logo http://upload.wikimedia.org/wikipedia/en/thumb/a/ac/Blogtv_logo_small.png/225px-Blogtv_logo_small.png Page 11
Figure 12 Oakley red one http://cache.gizmodo.com/assets/resources/2006/10/red_camera.jpg Page 12
Figure 13 The wind that shakes the barley http://www.thewildgeese.com/pages/images/corkhill.jpg Page 13
Figure 14 This is enlgand http://lookingatfilm.files.wordpress.com/2007/12/this-is-england.jpg Page 14

Chapter One – Introduction and context

This document explores how enhancements within media possibly has changed the face of social realism and their creators. This document looks at how the accessibility of technology has potentially affected the social class within different aspects in social realism, such as the topic of social realism itself, for example who is being represented and how they are being represented. Also the social class of the creator of social realistic work
What is social realism?
“Social Realism, also known as Socio-Realism, is an artistic movement, expressed in the visual and other realist arts, which depicts working class activities.”
(MiMi.hu ,2008)
Social realism within film was a massive movement in many countries. Peter Wintonick in 2006 stated in his film “Cinema verite” that their were many movements such as neo-realism in Italy, the French new wave and Cinema verite in France and Free cinema in Great Britain.
Moreover, this document explores who and where the key creators within these movements came from, what topic they directed and examine the significance of the technology available at the time.
In addition, this document continues to look at key creators throughout the years and compare the findings to the equipment available. Possibly finding a change in their social class or a change of topic within their work. This will continue to the present key social realism creators and touch on accessibility for future creators to break through.

Chapter Two – Research Method

To produce the document, I will use an assortment of research methods to compile the information required to explore the chosen question.
The main research method used will be secondary research.
“Secondary research occurs when a project requires a summary or collection of existing data. As opposed to data collected directly from respondents or "research subjects" for the express purposes of a project, (often called "empirical" or "primary research"), secondary sources already exist.”
(Asian market research, 2003)
Most of the secondary research sources I have accumulated are a majority of books and websites. However I have also retrieved information from journals, newspaper articles and digital video discs.
As I want my information to be accurate, I am undertaking another research method known as qualitative research.
“Qualitative research is used to help us understand how people feel and why they feel as they do. It is concerned with collecting in-depth information asking questions such as why do you say that?”
(Market research world 2008)
To ensure my information is precise, I will only use information from safe, respectable and practitioner based sources.

Chapter Three – Survey of literature and works

Social realism movements developed through the decades in different countries, and in direct parallel, film equipment became more sophisticated. In Wintonick’s documentary called “Cinema Verite, defining the moment” Wintonick (2006) claims that “In the 1950’s and 60’s, filming is getting easier due to the camera’s becoming portable and the sound becoming synchronised with the image, making it more accessible”.

However, the cameras might be more sophisticated and the sound might be synchronised, this does not mean that it was cheap. In the film “Cinema Verite, defining the moment”, Robert Drew (2006), a famous Canadian social realism director states that he produced a camera in the 1960’s which cost his sponsors “1 million dollars” to create, the camera was portable, had synchronised sound and used 16mm film.

Therefore, In the 1960’s, media enhancements were functional but not cheap. The significance of this technology being created towards attacking any change of social divisions is irrelevant as the equipment were too expensive for any of the working class to afford, therefore, limiting any change of the creators of social realism classes. For example Ken Loach.

Ken loach was a very educated man and was middle class, however representing the lower and working class in his works such as “Kes” (1969).

“he attended grammar school in Nuneaton and after two years of National Service studied Law at Oxford University, where he was President of the Dramatic Society”
(Screen Online, 2008)

In addition, the topics of his films are very working/lower class based, for example, a lonely boy adopting a kestrel (Kes, 1969), a Scottish teen trying to cope with drug problems and poverty (Sweet Sixteen, 2002), homelessness (Cathy come home, 1966) and miners strikes (Which side are you on, 1984).

“Working Class - People doing heavy manual work, usually for low wages, such as farm labourers, miners, builders and factory workers”
(Victorian West Sussex, 2008)

Moreover, Mike Leigh, who is another famous Social realist director covered similar subjects, however, he was also well educated.

“Mike Leigh was born in Salford on 20 February 1943, the son of a doctor, and was educated at Salford Grammar School before gaining a scholarship to the Royal Academy of Dramatic Art in 1960”
(Screen Online, 2008)

Surely these directors must have based their assumptions on stereotypes of a working class family and how they live their life as they did not experience a working class upbringing. If that is the case, how can the genre be classed as realism, when the “reality” depicted in the film is based on assumptions, therefore diluting the truth.

Moreover, throughout the 1960’s, 70’s and 80’s, even though equipment was enhancing, the social class of the creator was still middle class, representing a working/lower class.

However, In the 1990’s, the Hi 8 filming format became massively popular because it was really cheap to buy a Hi 8 camera and tape. Jelling (2008) states that “Hi-8 has a better image quality than 8mm due to the fact that it has a resolution of about 400 lines while the resolution of 8 mm is of about 140 lines”. As the Hi 8 format was cheap it was more accessible to a different class of creators.

In addition, after Hi 8 was released, a new digital format was released known as mini DV. Jelling (2008) continues to state that “After Hi-8 tapes, digital technologies brought mini DV tapes which came allowing consumers to enjoy of a 520 lines resolution. This way, since the appearance of digital formats, Hi-8 and its successor 8mm became less popular due to the lower resolution quality they offer“.
Moreover, the Mini DV format was cheap and accessible to the masses, enabling the working class to represent their self, therefore, possibly breaking the boundary of misrepresentation in Social realistic film .
As Mini DV became popular, it gave working class people, such as Shane Meadows a chance to illustrate his experience living in working class environment onto film.
Britmovie (2008) explains Shane Meadows was “Raised in Nottingham England, Shane Meadows dropped out of school as a teenager. After some odd jobs and a shot at studying acting and photography, Meadows volunteered at an art centre and learned the craft of film-making. He borrowed a camcorder and taught himself a technique of making short films with his friends as actors”
Kermonde on the BBC culture show (2008) explains that “Shane Meadows funded his earlier short films with his dole money” and continues to explain that Meadows “shot his first feature film TwentyFourSeven (1997) on Mini-DV”.
The breakthrough of a working class man creating social realistic work was not a fluke. The trend of other working class creators breaking through continues.
Paul Abbott is another example, Abbott had an unfortunate upbringing with both of his parents abandoning the family when he was only eleven. Cooke (2008) explains that Abbott was “Born in Burnley, Lancashire in 1960, Paul Abbott grew up in a crowded working-class household, the ninth of ten children. After his mother abandoned the family when he was nine, to be followed by his father two years later, the children were left to fend for themselves, with the eldest daughter assuming the maternal role”.
Paul Abbott is the writer of social realist channel four drama “Shameless” (2004), Shameless is based around Abbott’s experiences as young boy, therefore possibly the subject of social realism is becoming more accurately represented?
Moreover, due to technology becoming cheaper, creating a film is not just an industry based force. With internet web sites enabling users to upload their own footage, could this mean that social class divisions within social realism and their creators is changing?
YouTube is a massive platform for the general public to distribute their footage between other users. Digital Ethnography (2008) explains that there is approximately “78.3 million videos on YouTube”, and “200,000 videos are uploaded per day”. “80.3% of the videos are Unambiguously User-Generated (amateur)” and only “14.7% of the videos are professional”.
In addition, editing software has become cheap, if not free. Therefore amateur users can add a professional feel to their footage. With Microsoft windows, you obtain video editing software called “Movie maker”. With Macintosh they provide something similar on their machines called “iMovie”. Also, users can buy other professional software such as “Adobe Premiere Pro” or “Final cut pro”, which both retail to around £600 each.
Also, there are websites which enable anyone with a web cam or video camera to broadcast footage, live to an audience over the internet. The best example for this is www.blogtv.com. Blog television was an instant success. Google (2008) explains that “Blog TV recorded more than 411,000 unique users in the first month, more than one million daily broadcast views within two months, and conversion rates at 2.6%”. Claude Galipeau (2008), who is the Senior vice president of digital media alliance Atlantis states that “those figures are usually only achieved by an established brand and not by a new brand offering a new concept”.
Moreover, education for the masses is becoming more accessible. The government are giving students grants if their household do not earn very much, students can be entitled to £2,835 per academic year, therefore helping the working class further their education. Also with the massive increase of interest about film, the UK universities boost their filming degrees. Brown (2000) “points out that more universities than ever before were offering media or film degrees; from 166 courses in 1990 to over 280 in 1988”.
However, media enhancements are not all accessible to the masses, Oakley have released a video camera with such a high spec, it is competing with big industry high quality cameras. Gizmondo (2006) explains that “Typical high-end HD camcorders have 2.1M pixel sensors and record with 3:1:1 colour sub sampled video at up to 30fps. The Red one delivers 11.4M pixels at up to 60fps and record RAW, or 2x over-sampled HD in 4:4:4 or 4:2:2”. With this kind of spec, companies were expecting the price tag to be a very expensive. Gizmondo continues to explain that “On an Apple forum thread about the price of pro cameras just a few months ago, someone was guessing the RED would go for about $250k, but the RED site is saying $17,500”.
Moreover, with technology like the red one, surely, due to the existing trend of enhancements, within the next 10 years, we could possibly see even more drastic enhancements, possibly making an industry standard camera cheap enough so the working class people can purchase one and produce their own high quality social realist pieces of work.
Chapter four – Discussion

The effects of media enhancements are inevitable; cameras becoming cheaper, people becoming more technically minded and aspirations from the working class are increasing. The working class are finally doing it for themselves. However, are the working class making any impression on the film industry or do the original big shots in social realism like Ken Loach and Mike Leigh still hold a massive presence over the whole social realism genre?
Ken Loach has been in the filming industry since 1966 and has produced over a hundred pieces of work. His experience in film as well as social realism is immense. He is currently directing a drama based around Eric Cantona’s life. His latest piece of social realism was released in 2006, the film was called “The wind that shakes the barley”, the film is a sympathetic look at twentieth century Ireland and how two brothers cope with being torn apart due to an anti-British rebellion. At the box office the film did well, in the UK alone it has earned a gross of £1,248,724.13 and overseas it has earned a gross amount of £14,324,194.11. Ken Loach is still a very successful social realistic director, even though he is middle class, representing the working class.
In comparison, Shane Meadows, another famous social realism director. Meadows’ experience cannot compare to Ken Loach’s, as Shane has only directed 10 films. However, Meadows is from a working class family and has been in the film industry for around 12 years. He has just released his latest film “Somers town”. However, Meadows released his own social realism film in the same year as Ken Loach’s “The wind that shakes the barley”. That film was “This is England”. “This is England” was in the cinemas for seventeen week, which was the same duration as “The wind that shakes the barley”, however, it did nowhere near as well. In the UK, “This is England” made a gross amount of £224,010.66 and overseas it made a gross amount of £5,263,879.47. This is just over a third of Ken Loach’s film profit.
In addition, Loach’s “The wind that shakes the barley” won 5 awards and had 18 nominations, Meadows’ “This is England” on the other hand won 7 awards and had 14 nominations, awards including best British film from the BAFTA’s, best British independent film from the British independent film awards and the Best director award from the Newport international film festival. So, how can you judge the success? Loach’s film was distributed to many more countries, therefore made more money. However, “This is England” seemed to gather award after award. Loach has accumulated a massive fan base over the years, Meadows is more of a cult director breaking into the mainstream.
Maybe this is the beginning of change, the accessibility of film cameras is helping this change of class divisions in social realism. It is giving the working class a chance to produce their own work. Work which possibly represents the working class more accurately. I believe that people like Shane Meadows and Paul Abbott will continue to strive, creating a fan basis like Loach and Leigh. More importantly, these working class creators will inspire other working class people to create material themselves, and with the technology becoming cheaper and more refined, it is easier for the working class to purchase this equipment and express their own experiences.
Therefore, the next generation of film makers could be working class and if that is the case, we could see the whole face of social realism and how it is represented change. Creating a mass new wave of creators and ideas, not only just in social realism, but in mass film and broadcast television itself. Constructing a new revolution amongst media and its existing practitioners. Possibly eliminating any class divisions within the genre.
Chapter five – Conclusion
Using a vast amount of resources, I have defined where the genre of social realism originated from, with this as a catalyst I discovered that social realism was representing a working class, however, this representation was based on assumptions and stereotypes that the middle class had. The genre was dominated by the middle class
However, over five decades technology started to become more sophisticated, and with the new technology becoming more efficient, prices of the equipment started to fall. Therefore giving the working class a chance to create their own work. Also with addition of education becoming more available to anyone, the working class started to compete with the middle class giants within the genre.
I believe that the genre has been changed, and the social class divisions are changing. I also believe that the changes have come due to media enhancements. The introduction of the Hi-8 and mini DV formats seemed to be the catalyst of change as creating digital video is a lot cheaper compared 16mm film, also, the digital format can be distributed cheaply as well, via the internet of a DVD. However, even with these enhancements, I still believe there is a clear divide between classes within the genre. It seems to me that the economic side of things is heavily controlled by the middle class.
Moreover, with the release of the Oakley red one, media enhancements seemed to be improving still, therefore, I believe in the future quality of cameras will continue to increase and become more distinguished but the prices will remain low. This will enable the working class creators close the gap between the middle class creators, in theory, eliminating any kind of social class division.

References

Blog tv stats. (2008). Retrieved December 2, 2008, from Google corp: https://adwords.google.com/select/afc/casestudies/stories/blogtv.pdf
Culture Show. (2007, 6 Novemeber). Retrieved December 2, 2008, from Youtube: http://uk.youtube.com/watch?v=p8Z8U7IZrE8&eurl=http://tccbritishcinema.blogspot.com/2007/04/shane-meadows-dead-mans-shoes.html
Drew, R. (Director). (2006). Cinema Verite: Defining the moment [Motion Picture].
Jelling, P. (2008). Hi 8. Retrieved December 1, 2008, from Snap junky: http://www.snapjunky.com/camcorder-video-storage/hi-8-tape-today.shtml hi 8
Ken Loach. (2008). Retrieved November 25, 2008, from Screen online: http://www.screenonline.org.uk/people/id/458945/index.html
Ken Loach. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/name/nm0516360/
Kermone (Director). (2007). Shane Meadows BBC culture show [Motion Picture].
(2002). British social realism from documentary to brit grit. In S. Lay, British social realism from documentary to brit grit (p. 101 125). London: Wallflower Press.
Mike Leigh. (2008). Retrieved Novemeber 27, 2008, from Screen online: http://www.screenonline.org.uk/people/id/461294/
Social Realism. (2008) Retrieved November 23, 2008, from MiMi: http://en.mimi.hu/finearts/social_realism.htm
Paul Abbott. (2008). Retrieved December 1, 2008, from Screen online: http://www.screenonline.org.uk/people/id/970032
qualative research method. (2008). Retrieved December 1, 2008, from Market research world: http://www.marketresearchworld.net/index.php?Itemid=64&id=10&option=com_content&task=view
Red one. (2008). Retrieved November 22, 2008, from Gizmondo: http://gizmodo.com/gadgets/gadgets/red-one-camera-169222.php
Secondary research. (2008). Retrieved December 1, 2008, from Asian market research: http://www.asiamarketresearch.com/glossary/secondary-research.htm
Shane Meadows. (2007, April 5). Retrieved December 3, 2008, from TCC British cinema: http://tccbritishcinema.blogspot.com/2007/04/shane-meadows-dead-mans-shoes.html
Shane Meadows. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/name/nm0276349/
The wind that shakes the barley. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/title/tt0460989
The wind that shakes the barley awards. (2008). Retrieved November 24, 2008, from IMDB: http://www.imdb.com/title/tt0460989/awards
The wind that shakes the barley box office results. (2008). Retrieved November 24, 2008, from Box office mojo: http://www.boxofficemojo.com/movies/?page=main&id=windthatshakesthebarley.htm
This is England. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/title/tt0480025/
This is England awards. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/title/tt0480025/awards
This is England box office results. (2008). Retrieved Novemeber 24, 2008, from Box office mojo: http://www.boxofficemojo.com/movies/?page=main&id=thisisengland.htm
Wintonick, P. (Director). (2006). Cinema Verite: Defining the moment [Motion Picture].
Working class. (2008). Retrieved November 28, 2008, from Victorian west sussex: http://victorians.westsussex.gov.uk/ccm/navigation/glossary/?page=8
world, M. r. (2008). Qualitative Research. Retrieved Novemeber 1, 2008, from Market research world: http://www.marketresearchworld.net/index.php?Itemid=64&id=10&option=com_content&task=view
Youtube stats. (2008). Retrieved December 7, 2008, from Digital ethnography: http://ksudigg.wetpaint.com/page/YouTube+Statistics?t=anon

Bibliography

Exploratory research. (2008). Retrieved November 26, 2008, from Market research world: http://www.marketresearchworld.net/index.php?option=content&task=view&id=798&Itemid=
Greene, N. (2007). The french new wave, a new look. London: Wallflower Press.
Hill, J. (1986). Sex, class and realism. London: Antony Rowe LTD.
Hillier, J. (1985). Cahiers du cinema, The 1950's Neo realism, hollywood, new wave. London: Routledge and Kegan Paul plc.
Lay, S. (2002). British social realism, from documentary to Brit grit. London: Wallflower Press.
Neo realism. (2008). Retrieved Novemeber 12, 2008, from CCAT: http://ccat.sas.upenn.edu/italians/resources/Amiciprize/1996/
Neo realism. (2008). Retrieved November 25, 2008, from CCAT: http://ccat.sas.upenn.edu/italians/resources/Amiciprize/1996/
Neupert, R. (2002). A history of the French new wave cinema. Wisconsin: Wisconsin's in press.
Realism in film. (2008). Retrieved November 22, 2008, from Film reference: http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Realism-REALISM-IN-FILM-HISTORY.html
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William, C. (1980). Realism and the cinema. London: Routledge and Kegan Paul LTD.
Wintonick, P. (Director). (2006). Cinema Verite, defining the moment [Motion Picture].

Appendices

Catalogue Entry

2009-01-14T08:55:00.000-08:00

Catalogue Entry

Richard Parr
N0144872@ntu.ac.uk
Tel: 07983440313
Email: richardparrproductions@live.co.uk
Director for sale! Do you want a dedicated and hard working practitioner? Yes! Then I’m the one to employ. I have produced two documentaries for the BBC. I’m experienced in a professional environment. I enjoy working with others and I always look forward to a challenge. My skills range from directing, editing, sound, lighting etc. You name it, I can do it! Employ me, you won’t regret it!

Rationale

2009-01-14T08:53:00.000-08:00

Rationale

For my catalogue entry I have accumulated a collection of images which I believe depict my abilities as a multimedia practitioner. The first image I have chosen is an image of myself, I believe it is important to have an image of yourself in a catalogue, so people can put a name to a face; therefore it is more likely for a potential client to employ you.

Moreover, the second image is a screen shot from my first piece I created at university, I have included this image as it potentially presents the versatility of my work as “the conflict” was filmed using a DV camera, then imported into flash, where every frame of film was sketched over, giving a such a raw feel. I felt that this image was important to include as it shows an employer that I am not just an audio-visual practitioner, but shows the employer that I have many skills within multimedia.

In addition, the third image is a frame from another piece created in my first year of multimedia. The piece is called Bogden. I believe the shot is visually pleasing, it paints the feel of the short film in one frame, lonely. Moreover, another reason why this image is included is that, as a group we had to interpret a script that someone else has created, and put images to the script, therefore creating our version of the script. I felt that this helped me understand how scripts work and how they can be interpreted.

Furthermore, image four is a frame from a piece of work I created in my second year. I believe that this image is powerful, the amount of graves compared to the two characters in the middle seem to depict a powerful daunting message. Another reason why I chose this image is because that this image is from the first project I wrote a script from scratch. It helped me understand how a script is written and professionally formatted.

Moreover, image five is another image from my piece of work called “I’ve got to go upstairs”, now this image is focusing on not just my multimedia skills, but my overall artistic skills as well. I taught myself some make up skills on the set by creating artificial cuts and bruises. I believe this also shows how I am a quick learner, which will help me in the future, keeping up with media enhancements and gaining more skills.

In addition, the sixth image is of the documentary I directed and presented. This is a key image as it displays my two passions within multimedia, directing and documentary. I felt really compatible directing the documentary; also, I really enjoyed engaging with someone who usually would not have a chance to be on film (a big issue seller). I truly believe that this image is greatly important as it is what I would like to in the future.

Furthermore, the seventh image is of me capturing sound on another peers film set. I decided to include this image as it shows my willing attitude to help others. Also it illustrates my ability to work well with others, accepting, my role on the shoot and delivering the quality needed. Moreover, it also illustrates my extent of abilities such as a sound engineer.

Finally, the eighth image is a screen shot from my recent piece of work; it is an advert about making the general public aware of the cause of excessive drinking and smoking towards infertility. I chose this image as it is lit very well; I believe it depicts my skills as a light technician very well. It took me at least two hours to light that one shot, so I believe that this image is important as it also suggests my hunger for perfection and quality.

My catalogue entry is trying to portrait my versatile abilities as a multimedia practitioner. Also the style of the entry is like an advert, hoping a potential client will notice the different style, therefore, standing out as a practitioner.

I believe that these images give the audience an idea of my abilities and how I see myself as a multimedia practitioner, in the future I plan to refine my skills and pursue my dream to become a respected documentary director, potentially creating my own independent film industry concentrating on documentaries, art house films and social realism films. I have the determination to make these dreams a reality; however, I know it will not come instantly. I know it will require a lot of work and patience; however I am determined to work hard and get to that specific point. Another thing I want to pursue in my career is teaching. After working as a student ambassador and being part of a scheme which I go into schools and advise students on further education, I believe I would enjoy teaching audio visual skills to other aspiring students, I want to inspire other students like teachers inspired me, giving other people the chance to dream and improve themselves. Therefore I am thinking about attending a PGC teaching degree as well as pursuing an masters in either film and television or directing. I believe as a multimedia practitioner I am professional. I have gained these skills from working with the Nottingham BBC in college. I have kept these skills as I have had the opportunity to work with the BBC again this year for my live client project. This opportunity will improve me as a practitioner and I am looking forward to refining my skills, as I pursue perfection.

Live Client Project

2009-01-14T08:49:00.000-08:00

I have met with Tony Roe from the BBC, me and Sid are co-directing a documentary for Tony Roe about the devlopment of the east midlands. We have set several meetings in stone, the dates are:

10/12/08
1/12/09
1/4/09

PRP 18/11/08

2009-01-14T08:33:00.000-08:00

I have done some research on research methods now. I am going to use secondary research methods and qualative research methods for my research document.

SPP 3 18/11/08

2009-01-14T08:23:00.000-08:00

I have just been briefed on what I am expected to create a portfoliio/showreel, 6 images for the catalogue, catalogue entry and a 1000 word document explaining the reasons why I choose the six images and the catalogue entry.

PRP reading list/sources

2009-01-14T08:16:00.000-08:00

To produce my research document, I will use these sources:

Blog tv stats. (2008). Retrieved December 2, 2008, from Google corp: https://adwords.google.com/select/afc/casestudies/stories/blogtv.pdf
Culture Show. (2007, 6 Novemeber). Retrieved December 2, 2008, from Youtube: http://uk.youtube.com/watch?v=p8Z8U7IZrE8&eurl=http://tccbritishcinema.blogspot.com/2007/04/shane-meadows-dead-mans-shoes.html
Drew, R. (Director). (2006). Cinema Verite: Defining the moment [Motion Picture].
Jelling, P. (2008). Hi 8. Retrieved December 1, 2008, from Snap junky: http://www.snapjunky.com/camcorder-video-storage/hi-8-tape-today.shtml hi 8
Ken Loach. (2008). Retrieved November 25, 2008, from Screen online: http://www.screenonline.org.uk/people/id/458945/index.html
Ken Loach. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/name/nm0516360/
Kermone (Director). (2007). Shane Meadows BBC culture show [Motion Picture].
(2002). British social realism from documentary to brit grit. In S. Lay, British social realism from documentary to brit grit (p. 101 125). London: Wallflower Press.
Mike Leigh. (2008). Retrieved Novemeber 27, 2008, from Screen online: http://www.screenonline.org.uk/people/id/461294/
Social Realism. (2008) Retrieved November 23, 2008, from MiMi: http://en.mimi.hu/finearts/social_realism.htm
Paul Abbott. (2008). Retrieved December 1, 2008, from Screen online: http://www.screenonline.org.uk/people/id/970032
qualative research method. (2008). Retrieved December 1, 2008, from Market research world: http://www.marketresearchworld.net/index.php?Itemid=64&id=10&option=com_content&task=view
Red one. (2008). Retrieved November 22, 2008, from Gizmondo: http://gizmodo.com/gadgets/gadgets/red-one-camera-169222.php
Secondary research. (2008). Retrieved December 1, 2008, from Asian market research: http://www.asiamarketresearch.com/glossary/secondary-research.htm
Shane Meadows. (2007, April 5). Retrieved December 3, 2008, from TCC British cinema: http://tccbritishcinema.blogspot.com/2007/04/shane-meadows-dead-mans-shoes.html
Shane Meadows. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/name/nm0276349/
The wind that shakes the barley. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/title/tt0460989
The wind that shakes the barley awards. (2008). Retrieved November 24, 2008, from IMDB: http://www.imdb.com/title/tt0460989/awards
The wind that shakes the barley box office results. (2008). Retrieved November 24, 2008, from Box office mojo: http://www.boxofficemojo.com/movies/?page=main&id=windthatshakesthebarley.htm
This is England. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/title/tt0480025/
This is England awards. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/title/tt0480025/awards
This is England box office results. (2008). Retrieved Novemeber 24, 2008, from Box office mojo: http://www.boxofficemojo.com/movies/?page=main&id=thisisengland.htm
Wintonick, P. (Director). (2006). Cinema Verite: Defining the moment [Motion Picture].
Working class. (2008). Retrieved November 28, 2008, from Victorian west sussex: http://victorians.westsussex.gov.uk/ccm/navigation/glossary/?page=8
world, M. r. (2008). Qualitative Research. Retrieved Novemeber 1, 2008, from Market research world: http://www.marketresearchworld.net/index.php?Itemid=64&id=10&option=com_content&task=view
Youtube stats. (2008). Retrieved December 7, 2008, from Digital ethnography: http://ksudigg.wetpaint.com/page/YouTube+Statistics?t=anon

PRP 4/11/08

2009-01-14T08:09:00.000-08:00

I have started my research for my question. I am discovering alot about neo realism, free cinema and technology avaiable now, then and for the future. There is a camera called the red one made by oakely and it is better than blockbuster standard however only costs £17,500. This infornmation is paving the content of my research paper.

Simulated Client Project 4/11/08

2009-01-14T07:50:00.002-08:00

After showing Debra all of my progress, she sets me the task to film the film and document it with images.

Simulated Client Project

2009-01-14T07:50:00.001-08:00

TALENT RELEASE CONTRACT

RICHARD PARR
22 BARNSTON ROAD
SNEINTON
NOTTINGHAM
NG2 4HW

In consideration of the sum of £0 and any other good and valuable considerations, receipt of which is hereby acknowledged, I hereby give RICHARD PARR, 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 6th NOVEMBER 2008, this also covering any changes to recording dates a month either side, 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, 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.

___________________________________________
Signature of talent here

___________________________________________
Print of talent here

_________________
Date
Address:

______________________________________________________________________________

Phone Number: ______________________________

Simulated Client Project

2009-01-14T07:49:00.002-08:00

Booked Equipment List
• Z1 Camera
• K6 Mic (with softie, etc)
• Boom pole
• XLR extension
• Power plug extension (if you have one)
• Tripod (A big one)
• Headphones
• One red head light (with stand)
• Light filters
• DV tape x 2

Simulated Client Project

2009-01-14T07:49:00.001-08:00

Sound List

Here are the sounds I will need for the advert:
• Digetic sound
• Gulping of a pint
• Atmosphere track
• A busy bar
• Clanging of pint glasses
• A puff of smoke

Prop List

2009-01-14T07:48:00.001-08:00

Prop List

Here is a list of props that will be needed for the shoot:
• A pint of beer
• A measuring jug
• 40 cigarettes
• A beer mat
• A black tie

Simulated Client Project

2009-01-14T07:47:00.000-08:00

Shot List

Shot one:
Shot one is basically a shot of the actor, static, head on. In this occasion the actor talks through the whole script, pausing between each line.
Shot Two
Shot two is very similar to shot one, but at different angle, the angle will be head height, but from the right hand side.
Shot Three
Shot three is yet again, the acting performing, the camera is static but has an extreme close up on the actors eyes.
Shot Four
Shot four is similar to shot three, however there will be a close up on the actor’s hand movements.
Shot Five
Shot five is a shot of a pint of beer, in this shot the beer in the glass will be taken away, using stop animation it will look like the beer is disappearing on its own.
Shot Six
Shot six has the same principal as shot five but with cigarettes. There is a pile of 40 cigarettes , one after one, cigarettes will be taken away from the pile. Using stop animation it will look like the cigarettes are disappearing on their own.

Location Release Form

2009-01-14T07:46:00.000-08:00

Location Release Contract

PRODUCTION PROGRAMME: Simulated Client Project
PRODUCTION DATE: 06/11/08 (12:00 TO 14:00)

Permission is hereby granted to RICHARD PARR to use the property and land located at CASTLE WHARF, WATERWAYS BUILDING, CANAL STREET, NOTTINGHAM, NG1 7EH for the purpose of photographing and recording scenes for the above program produced by RICHARD PARR.
Permission includes the right to bring personnel and equipment onto the property and to remove them after completion of the work. The permission herein granted shall include the right, but not the obligation, to photograph the actual name connected with the premises and to use such name in the program(s).
The undersigned hereby gives to RICHARD PARR, its assigns, agents, licensees, affiliates, clients, principals, and representatives the absolute right and permission to copyright, use, exhibit, display, print, reproduce, televise, broadcast and distribute, for any lawful purpose, in whole or in part, through any means without limitation, any scenes containing the above described premises, all without inspection or further consent or approval by the undersigned of the finished product or of the use to which it may be applied.
RICHARD PARR hereby agrees to hold the undersigned harmless of and free from any and all liability and loss which RICHARD PARR, and/or its agents, may suffer for any reason, except that directly caused by the negligent acts or deliberate misconduct of the owner of the premises or its agents.
The undersigned hereby warrants and represents that the undersigned has full right and authority to solely enter into this agreement concerning the above described premises, and that the undersigned hereby indemnifies and holds RICHARD PARR, and/or its agents, harmless from and against any and all loss, liability, costs, damages or claims of any nature arising from, growing out of, or concerning the use of the above described premises except those directly caused by the negligent acts or deliberate misconduct of RICHARD PARR, or its agents.

___________________________________________
Signature of authorized property owner/representative

___________________________________________
Print of authorized property owner/representative

_________________

Date

Address:

___________________________________________________________________________________

Phone Number: ______________________________

Simulated Client Project

2009-01-14T07:45:00.000-08:00

Shooting schedule

Here is the time of the tasks that they should be completed:
Pick up equipment – 9:30 am
Check equipment – 10:30am
Meet Crew and actor – 11:00
Get to venue – 11:30am
Set up - 12:00pm
Shot one - 12:10pm
Shot two – 12:20pm
Shot three – 12:30pm
Shot four – 12:40pm
Shot five – 13:00pm
Shot six – 13:20 pm
Sound – 13:40
Contingency – 13:50
Pack up – 14:00

2009-01-14T07:42:00.000-08:00

Location Pictures

Simulated Client Project 28/10/08

2009-01-14T07:39:00.000-08:00

I must show debra next week my prgress.

Schedule
Contracts
Risk Assessment
Visualisations
Equipment Booked
Script
Location Booked

PRP 28/10/08

2009-01-14T07:34:00.000-08:00

After meeting with Jools my tutor and discussing my lack of sources for the topic I decided to change my topic. My new topic is "How has media enhancements effected the class divisions of social realism and their creators?", I prefer this question because I am interested in the subject and eagar to discover the research. I have done some research on social realism and discovered some key movement such as neo realism and the french new wave.

Research project 14/10/08

2009-01-14T07:31:00.001-08:00

I have just briefed on the research project. In term one I need to produce a 3000 to 4000 word document discussing a particular research question. I have chosen the BA pathway. I would like to create a document on documentary and how the researchers role changes a documenary for the better or worse.

Simulated Client Project Storyboard - 16/10/08

2009-01-14T07:27:00.000-08:00

This is my story board

Simulated Client Project 13/10/08

2009-01-14T07:14:00.000-08:00

After the lecturing explaining the brief I have produced a couple of ideas for the public awareness advert I want to produce. I want to produce an advert around sexual awareness. My 1st idea was baby close up screaming with txt appearing, it would of been done in a mundane style, similair style you would find in child abuse adverts. The audience would be led to believe that the advert is talking about the child being abused, for example, text saying "Do you want baby Sarah to cry anymore?", however the end twist would be that its a campaign for condoms, using text such as "well, if you don't want to hear baby Sarah's cries, wear a condom".

After disucussing this idea with Debra, she made me aware that this idea has already been done, so I went back to the drawing board. After a few more brain storms, I decided to tackle something which isn't spoken about much. Male infertility.

After much research I found out that smoking and drinking were a major factor for infertility. For example "Smoking and drinking affect fertility levels and can increase the risk of impotence. It is estimated that 120,000 men (in the UK) in their 30s and 40s are impotent as a direct result of smoking. Also if you are 30-40 years old, smoking also increases your risk of impotence by about 50%."

So the idea was simple. A man infront of a camera, in a bar, talking to the audience. He would ask questions such as "Can you smoke 40 fags a day" or "20 pints when you go out" in the style of a pub conversation. However the twist would be the man asking a final question "Well, if you can do all that, can you make a baby? Probably, due to all that drinking and smoking". Hopefully, using harsh words and scare tactics, it will confirm a serious message.

I discussed this with that group and Debra, thay seemed happy with the idea. I then produced a storyboard.

1st day of first year

2008-10-13T10:05:00.000-07:00

Today I had my first lecture, it basically outlined the whole year and Simon tried to motivate the whole year.

I have learnt that for my research project that referencing is important, however I shouldn't reference too much.

Also, I will have to reserve roughly £75 to be put in the multimedia catalogue. I also have to get a show reel sorted, so I have something to put in this catalague and show case my work for future employers.

The SPP 3 project sounds like its something that is going to help me optimise employment after I finish my last year.

There are two assignments:

Assignment one: Catalogue Entry and Showreel DEADLINE 16/12/08
Assignment two: Post graduation Application packages DEADLINE 24/03/09

Later on that day we had a lecture about the client project.

The client project is broken up in two parts:

Simulated Project - 6 weeks directed product
Live Client Project - End of term, 1, 2 and 3

This lecture informed me to understand the need of the client and the key audience. It also informed me on proffesionalism.

The client project is a great oppotunity to push myself and to make contacts.

The simulated project is basically easin the group into the project by giving us a 6 week task, the task is to create a product for awareness. The topics of awareness are either:

Sexual Health
Climate change
Health living
Sustainability

I have no idea yet, however climate change seems live the obvious one to do in my opinion.

www.nationalarchive.gov.uk/films

The live client project is already in the pipe line, I am creating a local documentary for a client called Tony Roe. He works at the bbc and he wants a local documentary in the style of his local tv show "inside out". Me and Sukhdeep are going to work on this project, however split the documentary into two halfs, one I will direct and Sukhdeep will produce and via versa.

We will also have to meet with the client atleast 3 dates, so he can evaluate our progress.

I am really looking forward to getting my head down this year! I'm going to show what I really can do!

Watch this space!

NTU vs NCN

2008-05-27T07:35:00.000-07:00

Today I took part in the NTU and NCN collaboration scheme, which simply gets ncn students into uni and give them a taste of multimedia through a workshop who Sid, Jools and I followed through.

We gave them a digital cameras to take photos to create a narrative. With the photos, they imported them into premiere pro CS3 and created a relevant sequence. If there were any missing photos, they had a chance to get more photos in the afternoon.

To conclude

We helped ncn pupils get an experience of multimedia and resulted with a film they could take back to college.

P.s. £8 an hour!!!!

The Trailer

2008-05-27T07:25:00.000-07:00

Here is the trailer for "I've got to go upstairs", I converted this into a wmv, 3pg and Mpeg 2

http://youtube.com/watch?v=3P7xqo-U0iQ

Edit day two

2008-05-18T19:07:00.000-07:00

Today I have finished my film, what I learnt today was that sound is crucial to the films misc en scene, ambience sound and slight tweaks on existing sounds make the difference. For example today, Owais helped me to put a reverb and an echo on "Will's" thoughts, at first before the reverb and echo it sounded ok, I could of gotten away with it, however, with the reverb and echo it sounds 10 times better! So to conclude, always think the sound in depth, as it is as equally important as the visual aspect of the film.

Edit day one

2008-05-18T19:03:00.002-07:00

Today I started editing, I was struggling to cut the film down to 8 minutes let alone 6, so I asked Debra for some help. She showed me how to be ruthless and I have learnt I have to balance shot relevance to the story and amazing shots which just don't mean anything to the story. As the director and editor of this film, it was hard to balance the 2, but I feel like that I have done a good job.

Film Credits

2008-05-18T19:03:00.001-07:00

Film Credits

Written and Directed by Richard Parr
Lighting by Richard Parr and Sukhdeep Nanua
Sound by Richard Parr and Sukhdeep Nanua
Camera by Richard Parr
Editing by Richard Parr
Will – Thomas Robinson
Robert – William Barton
Hollie – Hollie Starbuck
Will’s mum – Susan Parr
Make up – William Barton

I've got to go upstairs - The Film

2008-05-18T16:42:00.002-07:00

Here is the final edit of "I've got to go upstairs". Enjoy

http://uk.youtube.com/watch?v=5_vFPeIc20Q

Research

2008-05-18T16:42:00.001-07:00

I’ve got to go upstairs – Research

How to create a press release

I was unsure on the layout and how to right a press release, so I decided to search a few sites for information. Here are the sites I used.
http://www.cinema.com/articles/4226/dirty-sanchez-the-movie-press-release.phtml
http://www.bbc.co.uk/bbcfilms/press/londonfilmfestival2005release.shtml
http://www.xenite.org/faqs/lotr_movie/press-release.html
http://www.vocus.com/uksearch/google/pressreleasedistro/index.asp?cid=ukps&gclid=CMDStvOWsZMCFQyN1Qod939mng
http://www.flickernow.org/article413.htm
Interactive Trailer

I had a look at several interactive trailers and normal trailers to help me base my EPK and trailer on, here are the sites I visited to gather this information.
http://www.youtube.com/watch?v=zwXDHSrNFbQ – Magnolia
http://www.youtube.com/watch?v=TrpIWAAU3Cs – Dead man shoes trailer
http://www.youtube.com/watch?v=YLn1y9v6yno – Oldboy
http://www.youtube.com/watch?v=Dc1KzpMnuX0 – Leon
I choose these films to research on because they interest me and they have a level of greatness that I aspire to.
Cinematography

I wanted to create a dark cinematography so I tried to find out the history of cinematography and how to create a solid cinematography.
http://www.precinemahistory.net/
http://www.foxcinematography.com/
http://books.google.co.uk/books?hl=en&id=1JL2jFbNPNAC&dq=cinematography&printsec=frontcover&source=web&ots=PDQRcV-qFj&sig=DxJqKKZhjlBunqvq-dXO6L8-q0Q
http://www.cine-holocaust.de/eng/
Royalty free sound

I wanted to find royalty free sound, to make my film totally independent. Also I wanted a car crash sound, creating a car crash sound would be expensive.
http://freesound.net/
http://www.sonomic.com/affiliate.jsp?code=GOOG&gclid=CJzYlbGbsZMCFQyD1Qodsm91ng
http://www.sounddogs.com/
http://www.royaltyfreemusic.com/sound-effects.html

Press Release

2008-05-18T16:42:00.000-07:00

I’ve got to go upstairs – Press release

Crashing into a cinema near you

“I’ve got to go upstairs” is the newest film written and directed by Richard Parr. Richard Parr is a breath of fresh air for the UK film industry, with his unique approach to directing and dark imagination he has created this tale of unfortunate events where the lead character “Will” (Thomas Robinson) struggles with the guilt and consequence of causing a fatal car crash which involves himself, his best friend Robert Gamble (William Barton) and his long term girlfriend Hollie (Hollie Starbuck).
“I’ve got to go upstairs” is a very atmospheric film, mixing great mundane acting with a quirky soundtrack and a tense edit reveals an intense feature, which will get the audience wanting more after leaving the cinema.
The sublime audio within “I’ve got to go upstairs” really adds to the misc en scene, the ambience and thoughts of Will really gives the audience a sense of pain and anxiety.
Richard Parr directs the film in a way that makes the audience anticipates that within the car crash that Will has caused, his girlfriend Hollie has died. There is several clues to this story line, like Will staring at a photo of them for a moment, Robert suggesting that Hollie will forgive Will for the crash and audio clips of the accident. However, this story line is thrown through the window screen as we find out in a dramatic end that Will is mourning his best friend Robert (who he has a conversation with in the dining room halfway in the film), this twist is entwined with epic audio of the havoc of a doctor trying to save Robert but failing, perfectly synchronized with the realisation of Robert’s tragic death, however to thicken the plot, the Will wakes up at the end, suggesting, this all could of been a dream or some sort of terrible ground hog day experience.
Goober productions are very proud to present “I’ve got to go upstairs” and will be released on the 19th may.
Always wear a seatbelt.

Buddy scheme

2008-04-11T01:15:00.001-07:00

I have taken part in a thing called the buddy scheme, which requires me and a team of students from ntu multimedia to go round schools and talk about our work as multimedia students and tell them about the course as well as university life. I found this experience to quite enjoyable as I can show my work to people who like to get to higher education. Also we visited my old school, so it was defiantly nice seeing my old teachers. But all in all I felt that it was a good thing to sign up to (even though it took up alot of my time which could of been transferred to my 6 minute film) and I'm looking forward to the next stage in the scheme.

Moral 40 second pilot...Les Mantock

2008-03-21T05:10:00.000-07:00

This is a 40 second pilot written and directed by Les Mantock. It stars Richard Parr (Me) as Terry and Sukhdeep Nanua as Gavin. This is a test pilot for Les Mantock's 6 minute script called "Moral".

This also briefly shows my acting abilities aswells as Sukhdeep's. Sukhdeep and I have never acted before but we approached by our friend Les Mantock, he asked us for our help. Obviously we were happy to oblige and this is the outcome of a fun filled afternoon.
"I'm just trying to remember my second line"

"What....No!"

*Laughter*

Reflection cont...

2008-03-13T06:49:00.000-07:00

Make up

I have spent quite a lot of money on make up to make the scars and bruising look as realistic as possible. I also got Will Barton to do this for me as he has had a lot of on set make up experience and I felt that the finished product came out quite well. The makeup used was snazzaroo fake skin and a fake cuts and bruises set, professional sfx skin makeup, a syrup based fake blood (made for tv use) and a deep dark red fake blood.

Pre-Visualisation

Frameforge has not been working for the past 3 weeks now, as I am not experienced on frameforge that much, I decided to ask jools if I could make one based on my storyboard, he said it was fine. That has taken a lot of weight of my shoulders.

40 Second Pilot

2008-03-11T14:52:00.000-07:00

Must watch this video with heaphones for full effect.

http://www.youtube.com/watch?v=57hUUJrzJkw

Pre - Visualisation

2008-03-11T14:45:00.000-07:00

Here is my pre visualisation with a voiceover.

Self reflection

2008-03-11T14:16:00.000-07:00

Night Before the 1st shoot

I feel like this is going to be a good shoot, everything is organised. I have my storyboard/shot list sorted out to guide me through shoot. I have rung everyone to confirm times and meeting points. I’ve checked all of my equipment, that consisting of:

VX 2000
K6 Mic (FULL KIT)
Boom Pole
XLR Extension Cable
Headphones
Tripod
Lighting Kit
Gels
Reflectors
Carry case

They are all in good working order.
This should be smooth.

2 Hours after shoot

The shoot ran over by hour and a half. However results captured were very good. The stress of getting everything together left my mouth with a bitter after taste as I anticipated it to be a lot smoother. At first it started well but due to the late finish, everyone was feeling the time drag and performances from everyone (including me) started to die down. However, as a finale for the shoot, we filmed the shower scene (scene 2) and that was an amusing experience which lifted everyone right back up.

All in all, the shoot was a drag but a success at the end of it all.

Day 2 of shooting

Day 2, I must admit, it went extremely well (however, I did shout at my actors for not obeying orders, but that was quickly overcome), I was focused on what I wanted and when I wanted. We finished before scheduled and it lifted my spirits a lot more than the 1st day shooting. Actors pulled off good performances. I fell in love with film making again.

Capturing

I have captured my footage (and backed it up) today, I am very happy with scene 2 and all of the external scene especially. I can see how all of the shots will work in within the film!

Sound Capturing

I have had 2 solid days creating and searching for royalty free sounds and what I have found is amazing. I have created great sound effects and atmosphere tracks. I have also found some amazing sound effects for the heart monitor and sirens. It is all pulling together.

Edit of 40 Second Pilot

I finished editing the pilot today. I choose to base it on scene one. I feel scene one shows the dark and atmospheric style I am going for. I had to put 10 layers of sound on this pilot to create the anxious vibe I was going for. I believe it came out well. However, I do feel the screeching of the tires could be improved, so I will get another sound clip for that for the actual 6 minute film. I do feel that it is best watched with headphones on.

2008-03-11T13:54:00.000-07:00

2008-03-11T13:21:00.000-07:00

Risk Assessment

2008-03-11T13:20:00.000-07:00

RISK ASSESSMENT
Risk Assessment Task/ Location 22 Barnston Road

Person Conducting the Risk Assessment Richard Parr Position Director Date 13/02/08 Signature

Supervisor of the Area Richard Parr Position Director Date 19/02/08 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 Equipment could be knocked over by crew or cast. M Brief to both to crew and cast. Tape down all wires and make sure no one goes near equipment unless needed. Richard Parr 19/02/08 Y 21/02/08
2 Equipment could get wet L Discussion with Crew and cast to prevent them using the equipment under or near water Equipment is kept well away from the water and water proof barriers Richard Parr 19/02/08 Y 21/02/08
3 Cast and crew could slip on water M Brief to both to crew and cast. Rubber mats on the floor and caution signs Richard Parr 19/02/08 Y 21/02/08
4 Equipment could be stolen whilst filming. L Extra crew to secure the equipment Be vigilant and never leave equipment un attended Richard Parr 19/02/08 Y 21/02/08
5 Lighting could be knocked over and break or burn people/items H Brief to both to crew and cast. Wear gloves whilst using lighting, have only select personnel in the area. Richard Parr 19/02/08 Y 24/02/08
6 A car crash could take place whilst filming. M Brief to both to crew and cast. Ensure the driver isn’t intoxicated and fit to drive and drive in secluded areas. Richard Parr 19/02/08 Y 21/02/08

Research

2008-03-11T13:19:00.001-07:00

Research

Script Research

Writing a script seemed quite exciting for me, so I wanted my script to look professional, but I wasn’t sure on how a script should look like. So I decided to find some professional scripts to base my style on. I found www.imsdb.com to be very helpful to give me an insight on how scripts should look like.
Therefore, I set out to find out how to format my script correctly. www.scriptologist.com/Magazine/Formatting/formatting.html was a good site to see the process of the script formatting, but I found a piece of software called celtx, this software was free and easy to use. Which helped me create a professional looking script.
www.celtx.com

Casting Research

I feel that casting will be a hard task so I have decided to do some research on where I can get actors. After being referred by Jools to look at www.starnow.co.uk , it made me aware on how you can pay actors, those being no payment, expenses paid or a wage. I was intrigued by being able get actors through websites. I found that www.talenttext.com and www.acting.net were really decent also.
However, I thought I would research on local groups of actors which might be useful. I found a group at the ICC, which is a part of the YMCA. I have contacted this group and they sound promising. http://www.ymca.org.uk/pooled/profiles/BF_COMP/view.asp?Q=BF_COMP_20212
Also, I have visited the arts theatre in Hockley, they have a lot of youth groups, varying from 8 to 18, which will be probably useful in the future.
http://www.artstheatre.org.uk/
Moreover, I have researched on acting contracts and by reading quite a few stories, I have noticed that a lot of the time, actors pull out for many reasons. So I believe it is sensible to put forward a contract very early on in the stages, so your actors can’t drop out.

Premise and Treatment

2008-03-11T13:18:00.000-07:00

Premise

Will wakes up to the harsh reality of losing some one close to him.
Cut up inside, he decides to visit their grave.
Will has a guilt ridden conversation with his best friend Robert before leaving to buy flowers and discovering the real truth on what really happened on that devastating night out.
This story is about the journey of sub conscious beliefs which are thrown out of window when Will finds out who really died that night.

Treatment

Will is lying in bed asleep. As time passes Will begins to squirm, as if he is having a nightmare, however this nightmare is cut short as the alarm blares a siren and screech of tires and an alarm sound. Will wakes in a fright, he is panting and sweaty. Will gathers his nerves and turns off the alarm clock. Will reaches for the light pull above his head and then cowers away from the sudden shock of light. Will then composes his self and reaches for his glasses, whilst doing so the photo of him and his girlfriend Hollie catches his eye. He picks up the photo frame and stares at it for awhile whilst caressing Hollie’s face, Will starts to feel slightly awkward and throws the photo down back on the bedside table. Will then turns the television off, gets out of bed, collects a towel, dressing gown and saunters out of the room.
Will walks into the running shower naked, he grabs some shampoo and starts to frantically washing his hair, the suds gradually multiply until Will shouts out in pain. The pain is coming from his right hand, so Will washes the suds away to reveal a heavily cut hand bleeding. Will is slumps against the shower tiles with a blank look on his face. He gradually pulls himself up, turns off the shower and walks out of the room.
Will enters his bedroom again with his dressing gown and towel wrapped round him. He drops both of them to the floor and pulls up his boxers. Will then starts getting dressed into a black suit, starting with his shirt then to his trousers, belt, tie and finally jacket. He crouches down to look in the mirror to adjust his tie. He stares at himself, disgusted with his own face he drops his head and walks out of the room.
Will walks down his stairs and finds three letters at the bottom of the stairs, he picks them up and reads who they are delivered to. The letters are for Robert Gamble, who is Will’s flat mate. Will continues to the dining room and finds Robert eating cereal. Will puts the letters down on the table, next to Robert’s cereal. Robert asks if they are for him and Will replies with a grunt. Robert is puzzled and asks Will why is he being weird and why he is wearing a suit. Will looks back in disgust as he expects Robert to already know. Robert swiftly realises and apologises. There conversation continues and a lead to Will expressing his guilty feelings about a crash which took place, stating that it was his fault. Robert immediately counter attacks this by saying it wasn’t his fault, it just happened and Will couldn’t of seen it happening. He also tells him that he doesn’t blame him and he assures that his girlfriend Hollie doesn’t blame him also. They both look at the photo of Hollie, Robert and Will on the table. Will asks Robert if he is sure that he doesn’t blame him and Robert reassures him again. Robert then tells Will that he was sorry he couldn’t come today. His reason being that he has to do some work upstairs. Robert leaves the table and taps Will on the shoulder whilst passing him to leave the room.
Will walks down the pavement, he arrives at florists. He spends a short while deciding on what flowers he is going to purchase. He picks a bunch flowers and enters florists, he purchases the flowers, gets them wrapped and then exits the florists. He saunters down the road.
Will is his mum’s car travelling to the graveyard. We hear his thoughts. We hear the crash and police sirens. We also hear the panic of Will and screams from Hollie and Robert. After awhile the car stops and Will’s mum tells Will that they were at graveyard, so Will exits the car.
Will, walks to the grave, he lays down his flowers and kneels down, we continue to hear his thoughts. His thoughts consist of ambulance noise and a doctor trying to save a patient. The doctor’s efforts are useless and the patient dies. The doctor declares Robert Gamble’s death. Will looks at his left to find Hollie touching his shoulder. Will then looks at the gravestone. We then see flash backs of earlier scenes, with the photo of the three, Robert disappears. The letters disappear. Robert at the dining table disappears. We then see Will and Hollie staring at the grave. There is a sudden screech of tires and we see Will waking up again.

Schedule (In word)

2008-03-11T13:15:00.002-07:00

Schedule

 Think of Idea – 24 hours
 Produce Script – 24 hours
 Get script feedback – 24 hours
 Research on similar films – 4 hours
 Shot list – 6 hours
 Design (Set design) - 6 hours
 Get locations – 24 hours
 Pre production material:

 Recce sheet – 4 hours

 Call sheet – 5 hours

 Storyboard – 24 hours
 Frame forge -

 Planning sheet and excel – 8 hours

 Journal and self reflection – (Over whole period)

 Get actors – 168 hours
 Get Crew – 168 hours
 Brief actors – 2 hours
 Brief Crew – 2 hours
 Book equipment – 1 hour
 Organise shots, where and when – 3 hours
 Lighting – 24 hours
 Filming – 96 hours
 Sound – 96 hours
 Capture film 2 hours
 Edit 40 sec pilot – 6 hours
 Edit 6 minute film – 6 hours
 Author DVD includes: - 168 hours

 6 min film

 Interactive Trailer

 An advert

 An advert formatted for mobile (MPEG 4)

 An advert for web

 Press Release

 Character Biography

 Film credits

 Production Photos

 Notes for director and independent study work

 Back up of online journal

 Back up a copy of the final film on CD/DVD (720x576 DVAVI, 25fps non compressed)

Chracter Profiles

2008-03-11T13:15:00.001-07:00

Character Profiles

William King

Age: 18 to 20
Gender: Male
Ethnicity: Caucasian, British
About:
Will is a university student who is studying law. His parents split up whilst he was quite young. As a result of this he was neglected by both parents because they were too interested on finding other partners and going out clubbing. This results into Will becoming very reserved through secondary school and was bullied quite a lot, which damaged his self esteem and he became is quite shy. However, since he has started university he has started coming out of his shell. He has made a few good friends, one being Robert Gamble, who is Will’s best friend. Will looks up to Robert, he trusts Robert with his life and would do anything for him. Robert introduced Will to Hollie. After a long time Will plucked up the courage ask Hollie out.
So with Will’s new found happiness, his confidence is seeming to rise. However due to the fatal accident, he loses Hollie as a girlfriend and Robert as a friend. This plunges Will into manic depression and is searching for a way to deal with this tragic tale of events.

Robert Gamble

Age: 18 to 20
Gender: Male
Ethnicity: Caucasian/British
About:
Robert has come from affluent background and his parents have always been there to support him. Robert is a popular kind of guy, he seems to get all the girls, perform excellently at sports and is straight A student with minimal work. He has never belittled people with his natural abilities and has always made time for people who might need a helping hand. Robert met Will on his law course, he noticed he was a bright guy who had a dry sense of humour. He was teamed up by his tutor with Will to research British politics from 1832 to 1911. Whilst working together for awhile, they became good friends and Robert introduced Will to party life.

Sound list

2008-03-07T08:15:00.002-08:00

Sound List

Scene 1

 Atmosphere track
 White noise (of television)
 Alarm clock
 Screeching tires
 Car crash
 Gasp

Scene 2

Atmosphere track
Shower
Broken glass
Female scream

Scene 3

 Atmosphere track
 Sigh

Scene 4

 Atmosphere track
 Letter box
 Dialogue
 Cereal Bowl
 Stomps on the stairs
 Door slam
 Music blaring (Morrisey – You have killed me)

Scene 5

 Atmosphere track

Scene 6

 Atmosphere track
 Car sounds
 David saying its “not your fault”
 The group talking about where to go out, result is to the local pub/club.
 Driving fast round streets fast and the group enjoying themselves
 Group panic and start shouting watch out
 Screeching crash
 David shouting
 Hollie shouting
 Will panicking and saying “I’m sorry, I’ll get help, I’m sorry”
 Heavy panting
 Ringing sounds
 999 call
 Breathalyser test results
 Sirens
 Dialogue
 Door open
 Door slam

Scene 7

 Atmosphere track
 Hospital doors
 Doctor saying “Unknown personnel, suffered server crushing blows to the cranium and sternum... They’ve stop breathing! We need to get them into theatre now!
 Frantic hospital sounds
 Heart beat
 Heart beat machine sustain one tone
 Doctor declaring death “David Shale, time of death 11:47”
 Dialogue
 Doctor speaking to Hollie and Will “I’m sorry, we did all that we could, He’s gone.”
 Hollie screaming
 Will, “no, it can’t be, please tell me your joking, please ,please, Plea..eas..weep”
 Screeching tires
 Crash
 Panting

Prop List

2008-03-07T08:15:00.001-08:00

Prop List

Scene One

 Alarm Clock
 Photo of Will and Hollie together
 Photo frame
 Towel

Scene 2

 Swimming shorts
 Shampoo
 Fake blood
 Fake cuts
 Bandages
 Bruising make up

Scene 3

 Black suit
 White shirt
 Black tie
 Mirror

Scene 4

 4 envelopes/letters with David’s name on.
 Bowl of cereal
 Photo of Will, David and Hollie having a good time
 Photo frame
 Black suit

Scene 5

 A bunch of flowers
 Black suit

Scene 6

 A bunch of flowers (same from scene 5)
 Car
 Black suit

Scene 7

 Grave stone
 A bunch of flowers (same from scene 5)
 Black female clothes
 Black suit

Crew

2008-03-07T08:12:00.000-08:00

My crew has been finalised as:

Richard Parr - Director
Richard Parr - Camera
Richard Parr - Editing
Sukhdeep Nanua - Sound
William Barton - Make up artist
Producer - Richard Parr
Dramatic Director - Hollie Starbuck

Call sheet for both days

2008-03-07T08:11:00.000-08:00

I’ve got to go upstairs and do some work
Date: Tuesday, 19-02-08
Producer: Richard Parr
Call Time
12:00 PM
(Unless otherwise noted) Shoot Day: 1 Of 2
Exec. Producers: Richard Parr Rehearse: 12:00P Shoot: 12:30 P
Assoc. Producer: Richard Parr Sunrise: 7:19A Sunset: 17:18 P
Writer: Richard Parr Weather: Sunny and mild.
Temp: 6 Celsius

Director: Richard Parr

Set and Description Scene Cast D/N Pgs Location
Kings Street

22 Barnston Road

Ford Fiesta

22 Barnston Road

Ext: Florist 5 Tom 3

Int. Dining Room 4 Tom and Will 2/3

Int. Car 6 Tom and Sue
4

Int. Shower 2 Tom 1

Notes: Make sure Tom’s hair is dry and cuts look the same in every shot.

I’ve got to go upstairs and do some work
Date: Saturday, 23-02-08
Producer: Richard Parr
Call Time
10:00 PM
(Unless otherwise noted) Shoot Day: 1 Of 2
Exec. Producers: Richard Parr Rehearse: 10:00P Shoot: 11:30 P
Assoc. Producer: Richard Parr Sunrise: 7:32A Sunset: 17:47 P
Writer: Richard Parr Weather: Sunny and mild.
Temp: 6 Celsius

Director: Richard Parr

Set and Description Scene Cast D/N Pgs Location
Graveyard

37 Bramble Lane

37 Bramble Lane

Ext: Graveyard 7 Tom and Hollie 4/5

Int. Bedroom 1 Tom 1

Int. Bedroom 3 Tom
1

Notes: Make sure Tom’s hair is dry and cuts look the same in every shot.

Actor problems

2008-03-07T08:05:00.000-08:00

Its a week before the shoot and my two male actors have dropped out just before signing a contract, they have explained that they both have coursework due in soon and haven't got any spare time, so as a last result I have asked William Barton and Thomas Robinson to take there places. I know they can both act well, so it shouldn't be a massive loss. The other two actors needed (Hollie and the Parent) have been found and a contract has been signed.

So not disastrous, just a massive inconvenience!

I have finally found actors

2008-03-07T08:02:00.000-08:00

I've found two male actors through the ICC in Nottingham, they both seem quite professional and they can act. I met them in the square and got them both to do scene 4, they did it brilliantly. So hopefully they won't drop out!!!!

Draft 5

2008-03-07T07:48:00.001-08:00

I’ve got to go upstairs and do some work

All rights of this script
belong to Richard Parr.

Tel: *********** (Blanked out for personnel reasons)

Email: gooberparr@hotmail.co.uk

1. INT. WILL’S BEDROOM - MORNING

Will is tucked up in bed; the only light source is the
scrambling of the television.

Will lies there for a while, and then he begins to squirm lightly, as if he feeling
anxious, this continues until there is a blast of noise from
Will’s bedside table alarm clock (striking 6:00 am) and
sounds of tires screeching.

This sound immediately makes Will sit up in bed violently, panicked and sweaty, with his eyes wide open.

He looks at the time and turns off the alarm clock, but
whilst doing so he stares at a photo of Him and his
girlfriend Hollie and begins to hold his head in his left
hand whilst slightly stroking the photo with the right,
after a short while he drags himself away from the photo and
out of bed. He turns the television off, turns a light on
and draws the curtains to discover that the sky is still
dark. Will turns away from the curtains and collects a towel
off the floor and walks out of the room.

CUT TO

2. INT. SHOWER - MORNING

Will is washing his hair frantically, in the process he has
a sharp pain in his hand and instinctively washes the soap
suds away to reveal that it is bleeding.

As he finds the cut hand he looks at his arms which are cut and bruised. His
face throughout all this is blank and motionless.
He hears a distant female scream, his blank face starts to frown whilst
his head starts to dip, he stays in this position. Will then
gradually turns the shower off, stands there with a blank
face again, and then gets out of the shower.

CUT TO

3. INT. WILL’S BEDROOM - MORNING

Will walks into the room and starts to get dressed. Will
drops his towel and starts to get dressed into a suit. He
then looks in the mirror to correct his tie, he lifts his
head to see his face, Will sighs and dips his head back
down.

CUT TO

4. INT. STAIRS AND DINING ROOM

Will walks down stairs, and as he reaches the bottom, the
post is delivered, so he picks up the letters and ruffles
through them. They are all addressed to "Robert Gamble". He
continues to walk through into the dining room where his
friend David sits eating cereal.

ROBERT
“Are those for me?”

WILL
(Reluctantly)
"Yea..."

ROBERT
“Hey, why the attitude? And the
suit?”

Will looks back in disgust and surprise.

Robert realizes the occasion and his face drops into a
sympathetic expression.

ROBERT
“Oh... I’m sorry, it hasn’t hit me
yet. I wake up sometimes believing
it hasn’t happened.”

WILL
“I’m glad you can get sleep because
I think I’ve only had about 4 hours
sleep since..."

ROBERT
“I know... well you know me, I have
quite a lot of sleep, more than I
want sometimes"

Will looks back with yet again another look of disgust.

ROBERT
“Look, I’m sorry, I’m just trying
to keep my head together and get on
with it.”

WILL
“Yea, but that isn’t easy for me, I
caused it! It was my fault.”

(CONTINUED)
CONTINUED: 3.

ROBERT
“Look it wasn’t your fault! You
didn’t mean for it to happen, it
just did! I don’t blame you!
(Whilst gesturing towards a framed
photo) And I’m sure Hollie doesn’t
blame you either.”)

Will’s face drops as he looks towards the photo.
They both look at the photo, which is simply Will, Robert
and Hollie having a good time.

Will’s head dips again

WILL
“Are you sure you don’t blame me?”

ROBERT
“Of course I don’t, you couldn’t
have known it was going to happen.
It just happened! That’s life...”
Will (still with his head down begins to nod)

ROBERT
“Well... Look Will, I’m sorry I
can’t come today, I’ve got to go
upstairs and do some work, you know
how it is, don’t you?”

WILL
“Yea, I know”

Robert finishes off his cereal and then walks to the
doorway, taps Will on the shoulder and walks out the room.
Leaving him on his own feeling sorry for himself whilst
hearing the stomps of Robert going upstairs.

CUT TO

5. EXT - OUTSIDE A FLORIST

We see Will from across the road, exiting a florist with a
bunch of flowers in hand and sauntering up the road.

CUT TO

6. INT - BACKSEAT OF A CAR

Will is inside the backseat of a car, being driven somewhere
by one of his parents. He looks at the bunch of flowers and
smells them. He continues with this miserable blank look and
we hear his thoughts, his thoughts consist of David saying
"its not your fault", then a general banter between him and
his friends talking about going out, then driving around
streets fast (Robert and Hollie), then a screeching crash,
screams, Hollie screaming, Robert shouting and Will saying
"I’m sorry, let me get help, I’m sorry", A policeman
declaring breathalyser test, ambulance sirens and as the
sirens become too much, the car stops.

WILL’S PARENT
"WILL! It’s time to go, we are
here"

WILL
"Sorry...”
Will clambers out of the car and walks away.

CUT TO

7. EXT - GRAVEYARD

Will walks towards the graveyard and the sounds of his
thoughts continues with hospital sounds and Hollie screaming
"It’s all your fault you bastard, I hate you". Will
continues to feel more uncomfortable. Will’s thoughts become
more frantic, as it continues to the sounds of a hospital
machine bleeping and people screaming. Will gets to the
grave and starts to weep!

WILL
"I’m Sorry, I’m Sorry! I’m SORRY!"
As Will’s weeps, a hand touches his shoulder (then the sound
of the hospital machine starts to sustain one tone, a heart
has stopped beating).

Will looks up to find Hollie dressed in all black, she
tries to console him.

Will looks at the grave, revealing it to say "Here lies
Robert Gamble", we hear a doctor declaring Robert Gamble’s
death.

We then see flash backs from the film like the conversation
with Robert fades into him not being there, the photo of the
three friends having a good time disappearing, the letters

(CONTINUED)
CONTINUED: 5.

with Robert Gamble’s name on disappear.
Then we hear the screeching tyres and the alarm. We come
back to scene 1 where Will wakes up in a sweat.

FADE TO BLACK
END

Draft 4

2008-03-07T07:37:00.000-08:00

I’ve got to go upstairs and do some work

All rights of this script
belong to Richard Parr.

Tel: *********** (Blanked out for personnel reasons)

Email: gooberparr@hotmail.co.uk

1. INT. WILL’S BEDROOM - MORNING

Will is tucked up in bed; the only light source is the
scrambling of the television. Will lies there for a while,
and then he begins to squirm lightly, as if he feeling
anxious, this continues until there is a blast of noise from
Will’s bedside table alarm clock (striking 6:00 am) and
sounds of tyres screeching. This sound immediately makes
Will sit up in bed violently, panicked and sweaty, with his
eyes wide open.

He looks at the time and turns off the alarm clock, but
whilst doing so he stares at a photo of Him and his
girlfriend Hollie and begins to hold his head in his left
hand whilst slightly stroking the photo with the right,
after a short while he drags himself away from the photo and
out of bed. He turns the television off, turns a light on
and draws the curtains to discover that the sky is still
dark. Will turns away from the curtains and collects a towel
off the floor and walks out of the room.

CUT TO

2. INT. SHOWER - MORNING
Will is washing his hair frantically, in the process he has
a sharp pain in his hand and instinctively washes the soap
suds away to reveal that it is bleeding.

As he finds the cut hand he looks at his arms which are cut and bruised. His
face throughout all this is blank and motionless.

He hears a distant female scream, his blank face starts to frown whilst
his head starts to dip, he stays in this position. Will then
gradually turns the shower off, stands there with a blank
face again, and then gets out of the shower.

CUT TO

3. INT. WILL’S BEDROOM - MORNING

Will walks into the room and starts to get dressed. Will
drops his towel and starts to get dressed into a suit. He
then looks in the mirror to correct his tie, he lifts his
head to see his face, Will sighs and dips his head back
down.

CUT TO

4. INT. STAIRS AND DINING ROOM

Will walks down stairs, and as he reaches the bottom, the
post is delivered, so he picks up the letters and ruffles
through them. They are all addressed to "David Shale". He
continues to walk through into the dining room where his
friend David sits eating cereal.

DAVID
“Are those for me?”

WILL
(Reluctantly)
"Yea..."

DAVID
“Hey, why the attitude? And the
suit?”

Will looks back in disgust and surprise.

David realises the occasion and his face drops into a
sympathetic expression.

DAVID
“Oh... I’m sorry, it hasn’t hit me
yet. I forget what happened and
wake up sometimes believing nothing
has happened.”

WILL
“I’m glad you can get sleep, I
think I have only had about 4 hours
sleep since... well, you know."

DAVID
“I know... well you know me, I have
quite a lot of sleep, more than I
want sometimes" (laughs)
Will looks back with yet again another look of disgust.

DAVID
“Look, I’m sorry, I’m just trying
to keep my head together and get on
with it.”
WILL
“Yea, but that isn’t easy for me, I
caused it! It was my fault.”

(CONTINUED)
CONTINUED: 3.

DAVID
“Look it wasn’t your fault! You
didn’t mean for it to happen, it
just did! I don’t blame you!
(Whilst gesturing towards a framed
photo) And I’m sure Hollie doesn’t
blame you either.”

Will’s face drops as he looks towards the photo.
They both look at the photo, which is simply Will, David and
Hollie having a good time.
Will’s head dips again

WILL
“Are you sure you don’t blame me?”

DAVID
“Of course I don’t, you couldn’t
have known it was going to happen.
It just happened! That’s life...
well or was? You know what I mean.”
Will (still with his head down begins to nod)

DAVID
“Well... Look Will, I’m sorry I
can’t come today, I’ve got to go
upstairs and do some work, you know
how it is, don’t you?”

WILL
“Yea, I know”
David finishes off his cereal and then walks to the doorway,
taps Will on the shoulder and walks out the room. Leaving
him on his own feeling sorry for himself whilst hearing the
stomps of David going upstairs.

CUT TO

5. EXT - OUTSIDE A FLORIST

We see Will from across the road, exiting a florist with a
bunch of flowers in hand and sauntering up the road.

CUT TO

6. INT - BACKSEAT OF A CAR

Will is inside the backseat of a car, being driven somewhere
by one of his parents. He looks at the bunch of flowers and
smells them. He continues with this miserable blank look and
we hear his thoughts, his thoughts consist of David saying
"its not your fault", then a general banter between him and
his friends talking about going out, then driving around
streets fast (David and Hollie), then a screeching crash,
screams, Hollie screaming, David shouting and Will saying
"I’m sorry, let me get help, I’m sorry", A policeman
declaring breathalyser test, ambulance sirens and as the
sirens become too much, the car stops.

WILL’S PARENT
"WILL! It’s time to go, we are
here"

WILL
"Sorry...”
Will clambers out of the car and walks away.

CUT TO

7. EXT - GRAVEYARD

Will walks towards the graveyard and the sounds of his
thoughts continues with hospital sounds and Hollie screaming
"It’s all your fault you bastard, I hate you".

Will continues to feel more uncomfortable. Will’s thoughts become
more frantic, as it continues to the sounds of a hospital
machine bleeping and people screaming. Will gets to the
grave and starts to weep!

WILL
"I’m Sorry, I’m Sorry! I’m SORRY!"
As Will’s weeps, a hand touches his shoulder (then the sound
of the hospital machine starts to sustain one tone, a heart
has stopped beating).
Will looks up to find Hollie dressed in all black, she
tries to console him.
Will looks at the grave, revealing it to say "Here lies
David Shale", we hear a doctor declaring David Shale’s
death.
We then see flash backs from the film like the conversation
with David fades into him not being there, the photo of the
three friends having a good time disappearing, the letters
with David Gales name on disappear.

(CONTINUED)
CONTINUED: 5.

Then we hear the screeching tyres and the alarm. We come
back to scene 1 where Will wakes up in a sweat.

FADE TO BLACK
END

Draft 3

2008-03-07T07:36:00.000-08:00

I’ve got to go upstairs and do some work

By Richard Parr

1. Int. Will's bedroom – Morning

Will is tucked up in bed; the only light source is the scrambling of the television. Will lies there for a while, and then he begins to squirm lightly, as if he feeling anxious, this continues until there is a blast of noise from Will's bedside table alarm clock (striking 6:00 am) and sounds of tyres screeching. This sound immediately makes Will sit up in bed violently, panicked and sweaty, with his eyes wide open.

He looks at the time and turns off the alarm clock, but whilst doing so he stares at a photo of Him and his girlfriend Hollie and begins to hold his head in his left hand whilst slightly stroking the photo with the right, after a short while he drags himself away from the photo and out of bed. He turns the television off, turns a light on and draws the curtains to discover that the sky is still dark. Will turns away from the curtains and collects a towel off the floor and walks out of the room.

2. Int. Shower – Morning

Will is washing his hair frantically, in the process he has a sharp pain in his hand and instinctively washes the soap suds away to reveal that it is bleeding. As he finds the cut hand he looks at his arms which are cut and bruised. His face throughout all this is blank and motionless. He hears a distant female scream, his blank face starts to frown whilst his head starts to dip, he stays in this position. Will then gradually turns the shower off, stands there with a blank face again, and then gets out of the shower.

3. Int. Will’s bedroom – Morning

Will walks into the room and starts to get dressed. Will drops his towel and starts to get dressed into a suit. He then looks in the mirror to correct his tie, he lifts his head to see his face, Will sighs and dips his head back down.

4. Int. Stairs and Dining room

Will walks down stairs, and as he reaches the bottom, the post is delivered, so he picks up the letters and ruffles through them. They are all addressed to "David Shale". He continues to walk through into the dining room where his friend David sits eating cereal.

David

“Are those for me?”

Will

(Reluctantly)

"Yea..."

David

“Hey, why the attitude? And the suit?”

Will looks back in disgust and surprise.

David realises the occasion and his face drops into a cautious/sympathetic expression.

David

“Oh... I’m sorry, it hasn’t hit me yet. I forget what happened and wake up sometimes believing nothing has happened.”

Will

“I’m glad you can get sleep, I think I have only had about 4 hours sleep since… well, you know."

David

“I know… well you know me, I have quite a lot of sleep, more than I want sometimes" (laughs)

Will looks back with yet again another look of disgust.

David

“Look, I’m sorry, I’m just trying to keep my head together and get on with it.”

Will

“Yea, but that isn’t easy for me, I caused it! It was my fault.”

David

“Look it wasn’t your fault! You didn’t mean for it to happen, it just did! I don’t blame you! (Whilst gesturing towards a framed photo) And I’m sure Hollie doesn’t blame you either.”

Will's face drops as he looks towards the photo.

They both look at the photo, which is simply Will, David and Hollie having a good time.

Will's head dips again

Will

“Are you sure you don’t blame me?”

David

“Of course I don’t, you couldn’t have known it was going to happen. It just happened! That’s life… well or was? You know what I mean.”

Will (still with his head down begins to nod)

David

“Well... Look Will, I’m sorry I can’t come today, I’ve got to go upstairs and do some work, you know how it is, don't you?”

Will

“Yea, I know”

David finishes off his cereal and then walks to the doorway, taps Will on the shoulder and walks out the room. Leaving him on his own feeling sorry for himself whilst hearing the stomps of David going upstairs.

5. Ext – Outside a florist

We see Will from across the road, exiting a florist with a bunch of flowers in hand and sauntering up the road.

6. Int – Backseat of a car

Will is inside the backseat of a car, being driven somewhere by one of his parents. He looks at the bunch of flowers and smells them. He continues with this miserable blank look and we hear his thoughts, his thoughts consist of David saying "its not your fault", then a general banter between him and his friends talking about going out, then driving around streets fast (David and Hollie), then a screeching crash, screams, Hollie screaming, David shouting and Will saying "I'm sorry, let me get help, I'm sorry", A policeman declaring breathalyser test, ambulance sirens and as the sirens become too much, the car stops.

Will's Parent

"WILL! It’s time to go, we are here"

Will

"Sorry...”

Will clambers out of the car and walks away.

7. Ext – Graveyard

Will walks towards the graveyard and the sounds of his thoughts continues with hospital sounds and Hollie screaming "It's all your fault you bastard, I hate you". Will continues to feel more uncomfortable. Will's thoughts become more frantic, as it continues to the sounds of a hospital machine bleeping and people screaming. Will gets to the grave and starts to weep!

Will

"I'm Sorry, I'm Sorry! I'm SORRY!"

As Will's weeps, a hand touches his shoulder (then the sound of the hospital machine starts to sustain one tone, a heart has stopped beating).

Will looks up to find Hollie dressed in all black, she tries to console him.

Will looks at the grave, revealing it to say "Here lies David Shale", we hear a doctor declaring David Shale's death.
We then see flash backs from the film like the conversation with David fades into him not being there, the photo of the three friends having a good time disappearing, the letters with David Gales name on disappear.

Then we hear the screeching tyres and the alarm. We come back to scene 1 where Will wakes up in a sweat.

Fade to black
End

Draft 2

2008-03-07T07:35:00.000-08:00

I’ve got to go upstairs and do some work

By Richard Parr

1. Int. Will's bedroom – Morning

Will is tucked up in bed; the only light source is the scrambling of the television. Will lies there for a while, and then he begins to squirm lightly, as if he feeling anxious, this continues until there is a blast of noise from Will's bedside table alarm clock (striking 6:00 am) and non diegetic sound of tyres screeching. This sound immediately makes will sit up in bed violently, panicked and sweaty, with his eyes wide open.

He looks at the time and turns off the alarm clock, but whilst doing so he stares at a photo of Him and his girlfriend Hollie and begins hold his head in his left hand whilst slightly stroking the photo with the right, after a short while he drags himself away from the photo and out of bed. He turns the television off, turns a light on and draws the curtains to discover that the sky is still dark. Will turns away from the curtains and collects a towel off the floor and walks off screen.

2. Int. Shower – Morning

Will is washing his hair frantically, in the process he has a sharp pain in his hand and instinctively washes the soap suds away to reveal that it is bleeding. As he finds the cut hand he looks at his arms which are cut and bruised. His face throughout all this is blank and motionless. He hears a distant female scream (non diegetic) and his blank face starts to frown whilst his head starts to dip, he stays in this position. Will then gradually turns the shower off, stands there with a blank face again, and then gets out of the shower.

3. Int. Male’s bedroom – Morning

Will walks into the room and starts to get dressed. Will drops his towel and starts with his boxers, then continues to his shirt, trousers, socks, tie, shoes and then finally his suit jacket. After he is fully dressed he looks in the mirror to correct his tie, he lifts his head to see his face, Will sighs and dips his head back down.

4. Int. Stairs and Dining room

We follow the male down stairs, and as he reaches the bottom, the post is delivered, so he picks up the letters and ruffled through them. They are all addressed to "David Shale". He continues to walk through into the dining room where his friend David sits eating cereal.

David

“Are those for me?”

Will

(Reluctantly)

"Yea..."

David

“Hey, why the attitude? And the suit?”

The male looks back in disgust and surprise.

David realises the occasion and his face drops into a cautious/sympathetic expression.

David

“Oh... I’m sorry, it hasn’t hit me yet. I forget what happened and wake up sometimes believing nothing has happened.” (bad sentence!)

Will

“I’m glad you can get sleep, I think I have only had about 4 hours sleep since… well, you know.

David

“I know… well you know me, I have quite a lot of sleep, more than I want sometimes" (laughs)

Male looks back with yet again another look of disgust.

David

“Look, I’m sorry, I’m just trying to keep my head together and get on with it.”

Will

“Yea, but that isn’t easy for me, I caused it! It was my fault.”

David

“Look it wasn’t your fault! You didn’t mean for it to happen, it just did! I don’t blame yourself! (Whilst gesturing towards a framed photo) And I’m sure Hollie doesn’t blame you either.”

Will's face drops as he looks towards the photo.

They both look at the photo, which is simply Will, David and Hollie having a good time.

Will's head dips again

Will

“Are you sure you don’t blame me?”

David

“Of course I don’t, you couldn’t have known it was going to happen. It just happened! That’s life… well or was? You know what I mean.”

Will (still with his head down begins to nod)

David

“Well... Look Will, I’m sorry I can’t come today, I’ve got to go upstairs and do some work, you know how it is, don't you?”

Will

“Yea, I know”

David finishes off his cereal and then walks to the doorway, taps Will on the shoulder and walks out the room. Leaving him on his own feeling sorry for himself whilst hearing the stomps of David going upstairs.

5. Ext – Outside a florist

We see Will from across the road, exiting a florist with a bunch of flowers in hand and he saunters up the road.

6. Int – Backseat of a car

Will is inside the backseat of a car, being driven somewhere by one of his parents. He looks at the bunch of flowers and smells them. He continues with this miserable blank look and we hear his thoughts, his thoughts consist of David saying "its not your fault", then a general banter between him and his friends talking about going out, then driving around streets fast (David and Hollie), then a screeching crash, screams, Hollie screaming, David shouting and Will saying "I'm sorry, let me get help, I'm sorry", A policeman declaring breathalyser test, ambulance sirens and as the sirens become too much, the car stops (with the non diegetic sound)

Will's Parent

"WILL! It’s time to go, we are here"

Will

"Sorry...”

Will clambers out of the car and walks away.

7. Ext – Graveyard

Will walks towards the graveyard and the non diegetic dialogue continues with hospital sounds and Hollie screaming "It's all your fault you bastard, I hate you", male continues to feel more uncomfortable. Sounds become frantic, as it continues to the sounds of a hospital machine bleeping and people screaming. Will gets to the grave and starts to weep!

Will

"I'm Sorry, I'm Sorry! I'm SORRY!"

Will weeps harder.
As Will's scream hits the climax, a hand touches his shoulder (then the sound of the hospital machine starts to sustain one tone 9heart isn't beating)), he looks up to find Hollie dressed in all black, he looks at the grave. We see the grave to say "Here lies David Shale", over this we hear a doctor declaring David Shale's death.
We then see flash backs from the film like the conversation with David fades into him not being there, the photo of the three friends having a good time disappearing, the letters with David Gales name on disappear. At the end of the flash backs we see Will screaming "WHY!" in the graveyard.
Then we hear the screeching tyres and the alarm. We come back to scene 1 where Will wakes up in a sweat.

Fade to black
End

Draft 1.2

2008-03-07T07:34:00.001-08:00

I’ve got to go upstairs and do some work

By Richard Parr

1. Int. Males bedroom – Morning

Close up on the male tucked up in bed, the only light source is the scrambling of the television (cut to television, then back to the male). The camera gradually pans out slowly, exposing a mid shot of the room, which consists of a bedside table with an alarm clock, displaying the time 5:59. As the time hits 6am a blast of an alarm sound and screeching tyres wakes the male quite sharply. He reacts quite drastically, by sitting up straight away in a sweat and with his eyes wide open (slightly panicked)

He looks at the time and turns off the alarm and television. He turns on a light and opens the curtains (still quite dark).He collects a towel off the floor and walks off screen.

2. Int. Shower – Morning

A mid/close up of the male’s upper body. He is washing his hair then we cut to close ups on his wounds then back to him. He hears a distant female scream, he stops, looks around. Puts his head into his hands and stares at the shower tiles, he seems quite depressed.
After about 10 seconds he turns off the shower and moves out of the static mid shot.

3. Int. Male’s bedroom – Morning

The male walks into the room and starts to put on a suit, we see this with close ups such as pulling the trouser from his feet, buttoning of the shirt and tightening of the tie. Once the dressing is complete there’s a cut to a mid shot of him in his funeral suit.

4. Int. Stairs and Dining room

We follow the male down stairs, and as he reaches the bottom, post is delivered, so he picks up the letters, slight cut to a close up of the letters exposing the name of the flat mates name on all of the post. He continues to walk down stairs through to the dining room where his flat mate sits eating cereal.

Flat mate

“Are those for me?”

Male

(Reluctantly)

Yea...

Flat mate

“Hey, why the attitude? And the suit?”

The male looks back in disgust and surprise.

The flat mate realises the occasion and his face drops into a cautious/sympathetic expression.

Flat mate

“O... I’m sorry, it hasn’t hit me yet. I forget what happened and wake up some times believing nothing has happened.”

Male

“I’m glad you can get sleep, I think I have only had about 4 hours sleep since… well you know.

Flat mate

“I know… well you know me, I have quite a lot of sleep, more than I want sometimes (laughs)”

Male looks back with yet again another look of disgust.

Flat mate

“Look, I’m sorry, I’m just trying to keep my head together and get on with it.”

Male

“Yea, but that isn’t easy for me, I caused it! It was my fault.”

Flat mate

“Look it wasn’t your fault! You didn’t mean for it to happen, it just did! I don’t blame you! (Whilst gesturing towards a framed photo) And I’m sure ***** doesn’t blame you too.”

The male’s face drops as he looks towards the photo.

Cut to a close up on a framed picture of the three friends (Male, flat mate and *****) and back to the males face.

Male

“Are you sure you don’t blame me?”

Flat mate

“Of course I don’t, you couldn’t have known it was going to happen. It just happened! That’s life… well or was? You know what I mean.”

The male sadly nods

Flat mate

“Well, I’m sorry I can’t come today, I’ve got to go upstairs and do some work”

Male

“Yea, I know”

Flat mate finishes off his cereal and then walks to the doorway, taps the male on the shoulder and walks out the room. Close up on the male’s deeply saddened face with the sound of footsteps banging up the stairs.

5. Ext – Outside a florist

From across a road or a mid/long shot we see the male exiting with a bunch of flowers or a rose.

6. Int – Backseat of a car

The car is moving and we see the male from a side view and from the front passenger seat(camera position), he has his flowers in hand and looking quite distraught, we hear the a lot of non digetic sound such as a 999 call of a car crash, then a policemen declaring results of a breathalyser test.

As this continues the male becomes more and more uncomfortable.

7. Ext – Graveyard

Male walks towards the graveyard and the non digetic dialogue continues with hospital or police sounds, male continues to feel more uncomfortable. Sounds becomes frantic, as it continues to the sounds of a hospital machine bleeping and people screaming. Then the sound cuts to a big Ben sound like gong (12 notes). As the first gong hits, the other friend named ‘******’ turns up in all funeral clothing beside him, then a non digetic sound of a doctor declaring the time of death for the flat mate. Then a shot of the gravestone (saying the flat mates name), then to a shot of the letters in scene 4 changing into different letters (or none), the flat mate disappearing from the dining table, and then disappearing from the framed photo. Then cut to the male screaming and panicking in the graveyard, then a screech of tyres and alarm. Cut to scene one of male waking up in a sweat (close up on face).

Fade to black

End

Draft 1.1 (with feedback from Jools)

2008-03-07T07:31:00.000-08:00

I’ve got to go upstairs and do some work

By Richard Parr

1. Int. Males bedroom – Morning

Close up on the male tucked up in bed, the only light source is the scrambling of the television (cut to television, then back to the male). The camera gradually pans out slowly, exposing a mid shot of the room, which consists of a bedside table with an alarm clock, displaying the time 5:59.TRY AND WRITE THIS WITHOUT THE CAMERA MOVES IN. IT MAKES FOR A BETETR READ. As the time hits 6am a blast of an alarm sound and screeching tyres wakes the male quite sharply. He reacts quite drastically, by sitting up straight away in a sweat and with his eyes wide open (slightly panicked)

He looks at the time and turns off the alarm and television. He turns on a light and opens the curtains (still quite dark).He collects a towel off the floor and walks off screen.

2. Int. Shower – Morning

A mid/close up of the male’s upper body. He is washing his hair then we cut to close ups on his wounds then back to him. He hears a distant female scream, he stops, looks around. Puts his head into his hands and stares at the shower tiles, he seems quite depressed. HOW DO WE KNOW THIS? WHAT DO WE SEE?
After about 10 seconds he turns off the shower and moves out of the static mid shot. WHAT IS IMPORTANT ABOUT THE 10 SECONDS? CAN THIS BE WRITTEN SO WE FEEL THE EMOTION OF THE MOMENT RATHER THAN SIMPLY TECHNICALLY WHAT US HAPPENING?

3. Int. Male’s bedroom – Morning

The male walks into the room and starts to put on a suit, we see this with close ups CAMERA SHOT? such as pulling the trouser from his feet, buttoning of the shirt and tightening of the tie. Once the dressing is complete there’s a cut to a mid shot of him in his funeral suit. DO WE WANT TO REVEAL THIS MOMENT HERE?

4. Int. Stairs and Dining room

We follow the male down stairs, and as he reaches the bottom, post is delivered, so he picks up the letters, slight cut to a close up of the letters exposing the name of the flat mates name on all of the post. He continues to walk down stairs through to the dining room where his flat mate sits eating cereal.

CAN HE HAVE A NAME THIS MAN? IS HE CALLED THE MALE FOR A REASON? AS OPPOSED TO GIVING HIM A NAME?

Flat mate

“Are those for me?”

Male

(Reluctantly)

Yea...

Flat mate

“Hey, why the attitude? And the suit?”

The male looks back in disgust and surprise.

The flat mate realises the occasion and his face drops into a cautious/sympathetic expression.

Flat mate

“O... I’m sorry, it hasn’t hit me yet. I forget what happened and wake up some times believing nothing has happened.”

Male

“I’m glad you can get sleep, I think I have only had about 4 hours sleep since… well you know.

Flat mate

“I know… well you know me, I have quite a lot of sleep, more than I want sometimes (laughs)”

Male looks back with yet again another look of disgust.

Flat mate

“Look, I’m sorry, I’m just trying to keep my head together and get on with it.”

Male

“Yea, but that isn’t easy for me, I caused it! It was my fault.”

Flat mate

“Look it wasn’t your fault! You didn’t mean for it to happen, it just did! I don’t blame you! (Whilst gesturing towards a framed photo) And I’m sure ***** doesn’t blame you too.”

The male’s face drops as he looks towards the photo.

Cut to a close up on a framed picture of the three friends (Male, flat mate and *****) and back to the males face.

Male

“Are you sure you don’t blame me?”

Flat mate

“Of course I don’t, you couldn’t have known it was going to happen. It just happened! That’s life… well or was? You know what I mean.”

The male sadly nods HOW DOES A PERSON NOD SADLY? DOES A SAD NOD LOOK DIFFERENT TO OTHER TYPES OF NOD?

Flat mate

“Well, I’m sorry I can’t come today, I’ve got to go upstairs and do some work”

Male

“Yea, I know”

Flat mate finishes off his cereal and then walks to the doorway, taps the male on the shoulder and walks out the room. Close up on the male’s deeply saddened face with the sound of footsteps banging up the stairs.
THIS SCENE IS A LITTLE TOO 'ON THE NOSE' IN THAT IT STATES A LITTLE TOO MUCH. WE ARE GOING TO LOOK AT SUBTEXT THIS FRIDAY AND THE POWERPOINT LECTURE PUT ON VLP ASKS YOU TO LOOK AT THIS. THIS SCENE NEEDS TO DO MUCH MORE OF THIS AND LESS STATING WHAT IS HAPPENING DIRECTLY
5. Ext – Outside a florist

From across a road or a mid/long shot we see the male exiting with a bunch of flowers or a rose.
IF WE DONT KNOW ITS A FUNERAL THEN THIS SCENE MIGHT WORK OTHERWISE I'M NOT SURE OF ITS PURPOSE
6. Int – Backseat of a car

The car is moving and we see the male from a side view and from the front passenger seat(camera position), he has his flowers in hand and looking quite distraught, we hear the a lot of non digetic sound such as a 999 call of a car crash, then a policemen declaring results of a breathalyser test.

As this continues the male becomes more and more uncomfortable.
AGAIN THIS SHOULD BE WRITTEN AS WE HEAR IT AND NOT YOU DESCRIBING WHAT IS SUPPOSED TO BE HAPPENING
7. Ext – Graveyard

Male walks towards the graveyard and the non digetic dialogue continues with hospital or police sounds, male continues to feel more uncomfortable. Sounds becomes frantic, as it continues to the sounds of a hospital machine bleeping and people screaming. Then the sound cuts to a big Ben sound like gong (12 notes). As the first gong hits, the other friend named ‘******’ turns up in all funeral clothing beside him, then a non digetic sound of a doctor declaring the time of death for the flat mate. Then a shot of the gravestone (saying the flat mates name), then to a shot of the letters in scene 4 changing into different letters (or none), the flat mate disappearing from the dining table, and then disappearing from the framed photo. Then cut to the male screaming and panicking in the graveyard, then a screech of tyres and alarm. Cut to scene one of male waking up in a sweat (close up on face).

Fade to black
THINK THE SECOND CHARACTER DOESNT REALLY COME ACROSS. PERHAPS THE SCENE WITH THE FLATMATE COULD BE THIS
End

Draft 1.1

2008-03-07T07:30:00.001-08:00

I’ve got to go upstairs and do some work

By Richard Parr

1. Int. Males bedroom – Morning

Close up on the male tucked up in bed, the only light source is the scrambling of the television (cut to television, then back to the male). The camera gradually pans out slowly, exposing a mid shot of the room, which consists of a bedside table with an alarm clock, displaying the time 5:59. As the time hits 6am a blast of an alarm sound and screeching tyres wakes the male quite sharply. He reacts quite drastically, by sitting up straight away in a sweat and with his eyes wide open (slightly panicked)

He looks at the time and turns off the alarm and television. He turns on a light and opens the curtains (still quite dark).He collects a towel off the floor and walks off screen.

2. Int. Shower – Morning

A mid/close up of the male’s upper body. He is washing his hair then we cut to close ups on his wounds then back to him. He hears a distant female scream, he stops, looks around. Puts his head into his hands and stares at the shower tiles, he seems quite depressed.
After about 10 seconds he turns off the shower and moves out of the static mid shot.

3. Int. Male’s bedroom – Morning

The male walks into the room and starts to put on a suit, we see this with close ups such as pulling the trouser from his feet, buttoning of the shirt and tightening of the tie. Once the dressing is complete there’s a cut to a mid shot of him in his funeral suit.

4. Int. Stairs and Dining room

We follow the male down stairs, and as he reaches the bottom, post is delivered, so he picks up the letters, slight cut to a close up of the letters exposing the name of the flat mates name on all of the post. He continues to walk down stairs through to the dining room where his flat mate sits eating cereal.

Flat mate

“Are those for me?”

Male

(Reluctantly)

Yea...

Flat mate

“Hey, why the attitude? And the suit?”

The male looks back in disgust and surprise.

The flat mate realises the occasion and his face drops into a cautious/sympathetic expression.

Flat mate

“O... I’m sorry, it hasn’t hit me yet. I forget what happened and wake up some times believing nothing has happened.”

Male

“I’m glad you can get sleep, I think I have only had about 4 hours sleep since… well you know.

Flat mate

“I know… well you know me, I have quite a lot of sleep, more than I want sometimes (laughs)”

Male looks back with yet again another look of disgust.

Flat mate

“Look, I’m sorry, I’m just trying to keep my head together and get on with it.”

Male

“Yea, but that isn’t easy for me, I caused it! It was my fault.”

Flat mate

“Look it wasn’t your fault! You didn’t mean for it to happen, it just did! I don’t blame you! (Whilst gesturing towards a framed photo) And I’m sure ***** doesn’t blame you too.”

The male’s face drops as he looks towards the photo.

Cut to a close up on a framed picture of the three friends (Male, flat mate and *****) and back to the males face.

Male

“Are you sure you don’t blame me?”

Flat mate

“Of course I don’t, you couldn’t have known it was going to happen. It just happened! That’s life… well or was? You know what I mean.”

The male sadly nods

Flat mate

“Well, I’m sorry I can’t come today, I got to go upstairs and do some work”

Male

“Yea, I know”

Flat mate finishes off his cereal and then walks to the doorway, taps the male on the shoulder and walks out the room. Close up on the male’s deeply saddened face with the sound of footsteps banging up the stairs.

5. Ext – Outside a florist

From across a road or a mid/long shot we see the male exiting with a bunch of flowers or a rose.

6. Int – Backseat of a car

The car is moving and we see the male from a side view and from the front passenger seat(camera position), he has his flowers in hand and looking quite distraught, we hear the a lot of non digetic sound such as a 999 call of a car crash, then a policemen declaring results of a breathalyser test.

(put more detail about sound lighting effects?)

As this continues the male becomes more and more uncomfortable.

7. Ext – Graveyard

Male walks towards the graveyard and the non digetic dialogue continues with hospital or police sounds, male continues to feel more uncomfortable. Sounds becomes frantic, as it continues to the sounds of a hospital machine bleeping and people screaming. Then the sound cuts to a big Ben sound like gong (12 notes). As the first gong hits, the other friend named ‘******’ turns up in all funeral clothing beside him, then a non digetic sound of a doctor declaring the time of death for the flat mate. Then a shot of the gravestone (saying the flat mates name), then to a shot of the letters in scene 4 changing into different letters (or none), the flat mate disappearing from the dining table, and then disappearing from the framed photo. Then cut to the male screaming and panicking in the graveyard, then a screech of tyres and alarm. Cut to scene one of male waking up in a sweat (close up on face).

Fade to black

End

Draft One

2008-03-07T07:28:00.000-08:00

I have wrote my first of my draft:

**************

By Richard Parr

1. Int. Males bedroom – Morning

Close up on the male tucked up in bed, the only light source is the scrambling of the television (cut to tv, then back to the male). The camera gradually pans out slowly, exposing a mid shot of the room, which consists of a bedside table with an alarm clock, displaying the time 5:59. As the time hits 6am a blast of an alarm sound and screeching tyres wakes the male quite sharply. He reacts quite drastically, by sitting up straight away in a sweat and with his eyes wide open (slightly panicked)

He looks at the time and turns off the alarm and television. He turns on a light and opens the curtains (still quite dark).He collects a towel off the floor and walks off screen.

2. Int. Shower – Morning

A mid/close up of the males upper body. He is washing his hair then we cut to close ups on his wounds then back to him. He hears a distant female scream, he stops, looks around. Puts his head into his hands and stares at the shower tiles, he seems quite depressed.
After about 10 seconds he turns off the shower and moves out of the static mid shot.

3. Int. Male’s bedroom – Morning

The male walks into the room and starts to put on a suit , we see this with close ups such as pulling the trouser from his feet, buttoning of the shirt and tightening of the tie. Once the dressing is complete there’s a cut to a mid shot of him in his funeral suit.

4. Int. Stairs and Dining room

We follow the male down stairs, and as he reaches the bottom, post is delivered, so he picks up the letters, slight cut to a close up of the letters exposing the name of the flat mates name on all of the post. He continues to walk down stairs through to the dining room where his flat mate sits eating cereal.

Flat mate

“Are those for me?”

Male

(Reluctantly)

Yea..

Flat mate

“Hey, why the attitude? And the suit?”

The male looks back in disgust and surprise.

The flat mate realises the occasion and his face drops into a cautious/sympathetic expression.

Flat mate

“O.. I’m sorry, it hasn’t hit me yet. I forget what happened and wake up some times believing nothing has happened.”

Male

“I’m glad you can get sleep, I think I have only had about 4 hours sleep since… well you know.

Flat mate

“I know… well you know me, I have quite a lot of sleep, more than I want sometimes (laughs)”

Male looks back with yet again another look of disgust.

Flat mate

“Look, I’m sorry, I’m just trying to keep my head together and get on with it.”

Male

“Yea, but that isn’t easy for me, I caused it! It was my fault.”

Flat mate

“Look it wasn’t your fault! You didn’t mean for it to happen, it just did! I don’t blame you! (whilst gesturing towards a framed photo) And I’m sure ***** doesn’t blame you too.”

The male’s face drops as he looks towards the photo.

Cut to a close up on a framed picture of the three friends (Male, flat mate and *****) and back to the males face.

Male

“Are you sure you don’t blame me?”

Flat mate

“Ofcourse I don’t, you couldn’t of knew it was going to happen. It just happened! That’s life… well or was? You know what I mean.”

The male sadly nods

Flat mate

“Well, I’m sorry I can’t come today, I got to go upstairs and do some work”

Male

“Yea, I know”

Flat mate finishes off his cereal and then walks to the doorway, taps the male on the shoulder and walks out the room. Close up on the males deeply saddened face with the sound of footsteps banging up the stairs.

Troubles with the script

2008-03-07T07:19:00.000-08:00

I have been struggling to come up with ideas for a script. So I asked William Barton to help me brainstorm some ideas to work with. It started off with the idea have a 6 minute script on a couple, one of them collapses and we follow the panic of the other person trying to save there partners life. We developed some more ideas, for example a split screen narrative, showing the journey of two characters at the same time (no cuts), this journey would include many strange aspects (we didn't develop this idea as much, as it seemed quite hard to do it all in one shot). I then spoke with Jools and from this conversation came the idea of a young male has had car crash earlier that week and we follow his process getting to the funeral of one of his friends (who was in the car). So I am going to get this idea on paper in the next few hours.

Story Board

2007-12-06T07:33:00.005-08:00

Release Form

2007-12-06T07:33:00.004-08:00

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: ***********

Risk Assessment

2007-12-06T07:33:00.003-08:00

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

Concept Blurb

2007-12-06T07:33:00.002-08:00

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.

Transcript

2007-12-06T07:33:00.001-08:00

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.

The Edits

2007-12-06T07:33:00.000-08:00

Final Edit

Second Edit

First Edit

Reflection

2007-12-06T03:09:00.011-08:00

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.

A brief checklist which outlines booking, onset and offset

2007-12-06T03:09:00.010-08:00

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

Questions

2007-12-06T03:09:00.009-08:00

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.

Satellite Bureau

2007-12-06T03:09:00.008-08:00

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).

Satelite Bureau

2007-12-06T03:09:00.007-08:00

Script Task B 1/12/07

2007-12-06T03:09:00.006-08:00

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.

Script Task 1/12/07

2007-12-06T03:09:00.005-08:00

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

Leighton Meeting

2007-12-06T03:09:00.004-08:00

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.

Documentary Research

2007-12-06T03:09:00.003-08:00

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.

Just discovered the perfect talent

2007-12-06T03:09:00.002-08:00

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.

The Caine Treatment

2007-12-06T03:09:00.001-08:00

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.

Writing for screen media - show me don't tell me

2007-12-06T03:09:00.000-08:00

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.

Holding Pattern adaptations

2007-10-28T01:34:00.000-07:00

Holding Pattern

Scene 1. Ext. Grass verge. Day.

A man, Bogdan stands by the roadside on a grass verge. He holds a suitcase. As cars whiz past he takes a seat.

*Notes – Camera focusing on a group of ‘typical’ people, students in the midst of a conversation (we cannot hear the dialogue), messing around like a group of friends but the camera doesn’t stop on them, it continues zooming in and moves to a figure in the distance stood by the roadside, Bogden. A long shot from the other side of the road as Bogden is stood unsure of himself and agitated cars are whizzing past the camera on this road as blurs, the sound is accentuated. Give the impression life is ‘whizzing by’. He runs his hand through his hair in a stressed manner, cut to a close up of his face with a particularly sad expression. The frequent sound of cars flying past builds to a crescendo and then halts with an echo upon the title card.

Title appears: Holding Pattern

Cut to:

Scene 2. Int. Government Office. Day.

The Government office is as most government offices are in that there has been an attempt to make it look fairly inviting. Posters, with ‘apply for this’, ‘you are entitled to that’ messages adorn the wall.

Bogdan sits and waits to be seen by the Customer Service Provider Manager. He removes a sandwich from his suitcase and takes a quick bite before returning it. He takes a sip of water from the water cooler provided.

The Customer Service Provider Manager glances at Bogdan before resuming his paperwork.

Notes – We begin this shot with a close up of Bogden’s face, on the wall behind him are a load of entitlement leaflets and posters. A mosaic with him as the center. He wears a visitors tag which proclaims ‘My name is Bogden’ in a scrawl. Cut to a shot from a corner of the room, the camera pans from left to right slowly as if a CCTV camera is watching the scene, we start on the left with Bogden as he hastily grabs one of the leaflets and stuffs it in his jacket. We pan across to see the receptionist eyeing Bogden over her half moon glasses we pan back to see Bogden by the water cooler filling a glass, as he nervously heads back he turns to give a cheery smile to the receptionist only to trip and spill a small amount of water, he gives the receptionist a jokey apologetic look. The camera pans back to the receptionist who has removed her glasses and holds a look of utter disdain hold the camera on the receptionist as we Fade out.

Cut to:

Scene 3. Int. Living Room. Day.

Bogdan reads a tabloid newspaper. He has next to him a dictionary. It is a Romanian to English dictionary. He periodically consults the dictionary, writing select words in English and Romanian in his notepad. He is eating a pastry and sipping water as he reads.

Cut to:

Scene 4. Int. Living Room. Day.

Bogdan is dancing. The music is some Romanian tune.

Bogden enters his home and places his briefcase upon the floor. he is holding a small bag indicating he has bought something. He sits down on a chair and looks tentatively into the bag before removing from it a cassette. He places it in the player and waits for it to start, it is classical Romanian music. As the music begins he bounces uncomfortably, he looks like he is trying very hard to get into the music, as the music builds he begins to move around more, he dances quite vigorously for part of it before stopping suddenly, walking over to the player and stopping the tape. He sits back down looking sullied and disappointed. Fade out.

Cut to:

Scene 5. Ext. Park. Day.

Bogdan is sitting on a bench. His suitcase is next to him. He counts his money out on a bench. There is approximately two pounds in loose change.

Behind him an amateur football games is being played.

Notes – As Bogden counts his money a solitary falls from his collection, he watches helplessly as it falls down a nearby grate.

Cut to:

Scene 6. Int. Library. Day.

Bogdan is writing an email.

Notes - We pan up from his typing fingers on a steadycam, we see his cheap watch ticking loudly and move to an angled view of Bogdens face squinting at a computer screen. Behind him are family tree posters, the camera pauses on these as we Cut.

Cut to:

Scene 7. Int. Living Room. Day.

Bogdan is reading an official looking letter. He uses his Romanian to English dictionary to translate the occasional word.

Cut to:

Scene 8. Int. Government Office. Day.

Bogdan stands in a queue. He holds the letter tightly in one hand and his suitcase in the other.

Notes – He forcibly smiles at everyone who walks past. He is ignored.

Cut to:

Scene 9. Swimming Pool. Day.

Bogdan is swimming underneath the water.

Notes – Alternative, Close shot of Bogden’s face underwater in the bath. We have echoes of the Romanian music as a bubble escapes Bogden’s mouth. The music stops as Bogden breaks the surface of the water and shakes the water from his face.

Cut to:

Scene 10. Ext. Grass verge. Day.

Bogdan stands by the roadside on a grass verge. He holds a suitcase. As cars whiz past he takes a seat.

Eventually he takes the letter out of his pocket, rips it into small pieces. Standing he attempts to hitchhike.

Notes – Bogden examines the letter very carefully, he rips it up and stands with a look of newfound confidence, the camera cuts from the previous long shot to a fairly close steadycam level with bogdens face as he puts his hand up to hitchhike looking triumphant.

Cut to:

The End

by Tom Robinson

Tutorial - Presentation One

2007-10-28T01:32:00.000-07:00

Shane Meadows

Shane Meadows was born on 26^th December 1972, Uttoxeter, Stafordshire and spent most of his life growing up with a bunch of rebel type skinheads in the suburb of Nottingham known as Sneinton.

As he broke free from this bunch of skinheads, it allowed him to develop his own style and pathway in life. This heavily influences his films.

Firstly he created short films and is available as a compilation known as Shanes World,

http://youtube.com/watch?v=xfk86L3Sb3E Part 1

http://youtube.com/watch?v=hS3n4-ippaY Part 2

http://youtube.com/watch?v=LoJjzx6h5aI Part 3

http://youtube.com/watch?v=iUJIhCO4btw Part 4

Shane started small by directing small films known as “Where’s the money, Ronnie?” and “Small time”. These films weren’t very well known, however he made his first major feature film, starring Bob Hoskins, Twenty Four Seven (1997). This film was filmed in black white. It won 8 awards and had 3 nominations.

http://www.imdb.com/name/nm0276349/awards

After this epic achievement, Shane produced his next feature film called A Room for Romeo Brass, starring Andrew Shim and Paddy Considine. This film was a success and after having these two success’ he tried to go main stream with his next film “Once Upon a Time in the Midlands” (2002).

This film flopped and Shane simply lost some fans and credibility. So with his next film “Dead man’s shoes” (2004) he decided to go all out. It stars Paddy Considine and Toby Kebbell. Paddy simply avenges his brothers death in a chilling and unusual way.

This film was an amazing hit all other the UK, this enabled Shane to create his latest film, “This is England” (2006). This film is heavily influenced by Shane’s childhood and is a major hit at the box office.

http://youtube.com/watch?v=dKUtD5s-z78 Twenty Four Seven Trailer

http://youtube.com/watch?v=eoUgoAc1NTI A Room for Romeo Brass

http://youtube.com/watch?v=44TsO7vPZHg Once upon a time in the midlands early footage

http://youtube.com/watch?v=_vAk3Og3HLA Dean Man’s shoes trailer

http://youtube.com/watch?v=H0jkv2bRFgQ This is England trailer

Script task

2007-10-27T15:48:00.000-07:00

Script One

Characters

Vladek - 19 year old male, Polish, Jewish, evading capture. Dressed in white and grey striped overalls (mortified with a star of David) and wooden shoes

Man – A 32 year old Polish man who owns a house in the outskirts of Sosnowiec, slightly simple looking, with tattered clothes

Patrol Man – A 30 year old patrol official, German. Dressed in a black official military uniform, rounding up Jews.

Script

Vladek is on the run, needs to stay out of sight and find cover for the night! He searches in the country and finds a small cottage among some great big sycamore trees. Vladek hustles to the door and knocks with haste.

Vladek – Excuse me.......Hello...Please answer! PLEA..

A man opens the door whilst holding a lit candle.

Man – What do you want boy! Do you know what time it..... Wait, are you a Jew?

Vladek – Why yes sir! I need some help! Somewhere to stay, or “they” will find me!

Man – Ah... I see, I have a shack round the back. Hurry round and I will come in a half hour with a loaf of bread and some water.

Vladek - Thank you! Oh Thank you!

Man – Don’t mention it

As time passed, Vladek hid in this derelict shack, the Man never came. Vladek was too afraid to check if the man was ok, as he didn’t know where “they” were.

Vladek – What should I do?

After about 3 hours later Vladek heard distant footsteps, they become closer and closer untill, A Patrol man opened the door.

Patrol Man – You dirty fucking JEW

Vladek – I’m not a jew!!! Honest! I just stole these clothes from a dead corpse! I needed to! My house with my clothes were blown to bits.

Partol Man – Liar!!!

Vladek – Honest! I swear!

Pastrol Man – You Jews always believe that you can outsmart everyone........well guess what..

Vladek – What?

Vladek quivers to his knees

Patrol Man – Not me

Vladek – Please sir! Have mercy! I do no harm, just work hard and I keep my head down.

Patrol Man - .........

Vladek – I have never hurt a fly

Patrol Man – Maybe not a fly, but an Aryan maybe?

Vladek – No sir! Honest, not an Aryan, German, Jew, Pole or anything. I am a gentle soul, please sir, have mercy!

Patrol Man – Why? Whats in it for me? Except risk! Risk of people knowing that I have let a dirty Jew out of my powerful grasp!

Vladek – I won’t tell anyone, not a soul! Plus I will do anything, become your personal slave. Just please spare my life.

Patrol Man – Hmmmm, Bartering are we? Like a stincking Jew!

Vladek – No barter! Offer! My life, my loyalty and my skills!

Patrol Man – What skills?

Vladek – I Can do anything, from shoe making to blacksmith work

Patrol Man – You know all this?

Vladek – Yeah, my cousin Richeau taught me before all of...this!

Patrol Man - ........I see. You have potential. How old are you?

Vladek – 19

Patrol Man – 19?... uh all this at the age of 19! You do have potential.

Vladek – Thank you sir!

Patrol Man - .............. you seem to be a nice Jew, maybe even Polish?

Vladek – I am nice, a nice Pole

Patrol Man – Are you lying to me?

Vladek – I wouldn’t dream of it, not to someone with so much class, charm and intellect. Someone with as much intellect as you would spot a Jew from 20 miles.

Patrol Man – Ah, you boy are a Pole! No Jew would show so much common sense.

Vladek – Thank you sir

Patrol Man – So......

Vladek – Can I go?

Patrol Man – Of course my friend!

Vladek – Thank you sir! You are...

Patrol Man – After this

The Patrol Man pulls out and a standard hand gun, it glistens by the moonlight.

Vladek – What....what is that...for?

Patrol Man – Don’t worry boy, I want you to get rid of this for me!

Vladek – Why??

Patrol Man – I shot the man inside that house!

Pointing to the house of the Man who helped Vladek earliar

Vladek – Oh....ooo..erm yeah! Ofcourse, no one will ever know.

Patrol Man – Thats a good boy, now..... on your way

The Romanian Man

2007-10-13T13:53:00.000-07:00

To me the film is about a Romanian Refugee who is struggling in society, being very alienated. Occasionally finding pleasures reminding him of home, such as dancing to Romanian pop songs.

He also is struggling with reading a letter, this letter could be from anyone, such as the government, an English speaking girlfriend or an employer. Whoever its from, to me its bad news. News which simply destroys this mans hope for a new life in England and making him revert back to his life in Romania.

The Issues which could apply to this script could be immigrants/refugees coming to England and the the inferior treatment from British people towards these people.

This could be added easily with a look of disgust from the woman in scene 2 towards the Romanian man as he drinks and spills the water supplied by the government office's water cooler, implying that he is not worthy this water and to spill this water is an utter insult.

Misc en scene: Old Boy (Korean Blockbuster, 2004: Fight)

2007-10-13T13:02:00.000-07:00

I have chosen to analyze the misc en scene of a specific clip from a very famous Tartan film from Korea called "old boy", basically, this man called Dae-su Oh has gruesomely interrogated another man to find out who his boss is, shortly after we have a major fight scene which is very darkly lit, with cold blues, blacks and hint of red (hinting danger).

The main focus of this scene is Dae-su Oh and his challenge to overcome the problem of exiting the building with a massive entourage standing in his way.

The movement of this scene is simply a tracking shot down the hallway, following action that takes place.

The sound on this version isn't the original soundtrack however it still works very well, being a very graceful piece, with the occasional violin strike, seeming quite graceful and deliberate which juxtaposes the far more manic frenzy in the action, only further emphasizing the epic fight scene. The soundtrack being most of the sound within the scene as it lacks dialog.

The sequence is completely linear as the fight starts, it was filmed in one shot!

With shady lighting and colors, along with the deliberate juxtaposes technique it creates a dark and exciting scene.

Why did jools?

2007-10-12T07:51:00.000-07:00

Basically!

I believe Jools set us the inside out task to see how we interpret someone else’s work instead of developing our own idea.

Team work

Creativity

To create and method of working

Break us in into the second year.

Establish individual peoples strengths and weakness

We can learn something that we could use in the future.

My Comic

2007-09-07T05:54:00.000-07:00

Me and a few friends from my multimedia course have been trying to create a comic, but to start, we all have made our own, so here is my 1st attempt:

Black and White link: http://luckypigeon.dpsweb.org/wp-content/uploads/2007/09/lucky-pigeon-no-colour.jpg

Colour Link: http://luckypigeon.dpsweb.org/wp-content/uploads/2007/09/lucky-pigeon-coloured.jpg

If you want to see the other comics, go to: http://luckypigeon.dpsweb.org/

Second Comic

2007-09-04T03:31:00.001-07:00

This comic is named P-nut, this is my second attempt an was alot easier compared to my 1st:

http://luckypigeon.dpsweb.org/wp-content/uploads/2007/09/p-nut-black-and-white-copy.jpg

click if you want to see the black and white version

http://luckypigeon.dpsweb.org/wp-content/uploads/2007/09/p-nut-coloured.jpg

click if you want to see the colour version

Year II or 2

2007-09-04T03:31:00.000-07:00

Year 2 is starting in about a month, so I thought I would start on this blog again, you know to get back into practice!

I've taken AV/Audio Visual (Film)

I am really looking forward to it! I'm also going to sit in quite abit of game, as I am very interested i tht subject also!

I have been producing a comic with fellow collegaues in the summer, trying to broaden my horizons past film, but also to brush up skills such as narrative! We have a website set up to discuss ideas, so it is easier for us to know what everyone wants before we meet!

I feel that this project has helped my skills with organisation and narrative ideas.
Most of my ideas which I put forward for this project are potential ideas which could be adapted to film, such as my "UK Now" idea, which is simply an idea which follows this average guy who experiences run ins with stereotypes of the world and it all clashes at the end. (The idea is fully developed yet).

For most of the ideas look on:

http://luckypigeon.dpsweb.org/

Well, I best b off, but I will force myself onto this blog more often as I want a 1st this year!

Lynx browser

2007-02-23T07:12:00.001-08:00

I nhave experienced the text only web browser called lynx. Lynx is a text only web browser for the blind (it links to a special keyboard which creates brail, creating brail for the page). I have noticed it works very well and can work better than just usinbg a kewboard. e.g. www.playmonday.com, on this website you can access the lottery ball selection, unlike the keyboard only technique. This browser is a good piece of software.

Lynx browser

2007-02-23T07:12:00.000-08:00

Help the needie!

2007-01-30T06:20:00.000-08:00

If you want to give to charity for free and help feed a child or save some animals then visit this website and click the link (other links at the top of the website for other charitys)

www.thehungersite.com

Remember! It's Free!

Stella performance

2007-01-30T06:05:00.000-08:00

The actual performance went well in some parts, it was abit stressful being Stella and having to act like a fool infront of people, however it worked out ok. The flash animations and the rest of the elcetronic presentation worked very well with the performance. We covered Stella's life very well however the acting/script could of been funnier. I feel like there could of been more chracter to interact with and the performance could of interacted with audience more. However it was a confident success! We also made a profit around £17 which will be given to charity (breast cancer).

Stella Rimington

2007-01-24T04:54:00.000-08:00

I have been put in a group of six members, our group was told we had to create a "site" based performance on a certain person and make profit. That person being Stella Rimington. Stella Rimington was the ex diretor of MI5 and used to attend the Nottingham High School for girls. Therefore we decided to set our performance there. We have come to a conclusion that we shall create a live performance with acting, animations, music and comedy. I have been nominated to play the role of Stella Rimington, so me and my fellow group Chris are working on a script which would be suitable for the key audience (High school pupils). This is a brief outline on what the script will include:

Pictures of Stella repeat on projection screen

Introduction animation plays

Narrator walks on stage

Narrator Introduces the group

Narrator Introduces Stella

Stella walks on stage in a secret agent way

Introduces herself (repeating Narrator - humor)

Born in war - inspired by suffragettes

Went to Nottingham Highschool for girl - got great education, especially in english and inspired her to go to university to continue her education, allowing her to progress in life to eventually become director general of MI5.

Juggling being full time mum (super mum) and DG of MI5 (animation reflecting this - humor)

Phone call, banter between father about picking children up.

Once she felt she had completed her duties as DG of MI5 she left.

M&S/BG group

Didn't want to resign to a stereotypical boring house wife after the excitement of MI5.

Successful writing carreer, two novels about female secret agents and an autobiography.

Other successful women in power - margerette thatcher. "M" character in Bond movies being played by female character after Rimington becoing DG of MI5.

Whats next for women of the future? When Stella was at school, female figures of power were unheard of. "Just imagine what you young women could acheive in the future"

Round up of Stella Rimington

Questions about Stella or NTU

Thank You

Mention all profits go to charity.

Frame Forge

2007-01-23T09:15:00.000-08:00

I was introduced to a story boarding software known as "Frameforge 3d", which allowed you to create a virtual set with virtual chracters and virtual objects. You can move cameras within the software, to gather desired shots. To make a moving like effect you can use a technique called tweening. Tweening is a word that originates from the word "between", it simplys allows you to zoom from your first shot to your last shot in a desired amount of frames, without creating each frame. You could also edit the chracters themselves, for example clothing, facial expressions, age and even down to the little fingers position. I believe this is a very helpful piece of software especially for planning out filming, possibly for my ident assignment!

Space Centre

2007-01-08T06:55:00.000-08:00

Space Centre

I found the water rocket the most interactive, engaging and interesting display as ypu could choose how much water the rocket will fill up by (choices ranged from 1% to 100%), to try and get the highest flight possible. This display included a touch screen which added to the interactivity as it is diffetent from using buttons or a mouse to click the desired choices. I believe that this display was an excellent display for interactive multimedia as you could choose a 100 choices and every outcome was different.

The worst interactive display was the “Make your own alien face”, as it took a photo of your face the camera and light quality was appauling therefore you couldn’t see your face at all. It used a mouse, which would of been better if it had a touch screen. You had to choose specific points where you wated the face to morph which made no difference each time you did it, the outcome was the same either way. This display was disgraceful.

Pin hole camera

2007-01-08T06:53:00.000-08:00

Pinhole Camera

This seminar was possibly my favorite over the first seminar period, it was very practical and very enjoyable. I made a pinhole camera out of a 500ml can. I cut the top off, sanded the edges, made a pin hole in the middle of the can. I also sanded down the pin hole making sure the hole is a smooth hole and make sure the hole is covered with a piece of gaffa tape, acting as a shutter. Then I made a light ight lid out of black paper. Once this process was complete, I loaded the camera with some photographic paper (shiny side towards the hole) in the dark room, making sure the hole isn’t covered. Then I set my camera down outside infront of where I wanted the photo’s to be taken (The graveyard and the cornerhouse) and released the shutter for about 10 to 12 seconds. Then went back to to the dark room and developed them.

Narrative Evaluation

2006-12-05T07:54:00.000-08:00

Narrative Evaluation

By Richard Parr

Student N.o: N0144872
Narrative Group: 5
Narrative Evaluation

The pre production was firstly very slow moving as it was hard to find who was in my group and arrange meetings. We all posted our abilities on the discussion board.

However, because we did not use the discussion board more often in the early stages of pre production it was hard to arrange meetings and to discuss ideas. Therefore, if I had to attempt this project again, I would have used the discussion board a lot more, and inputted more contact details to therefore hold more meetings to enable us to present our ideas and produce an organised production schedule a lot quicker. In conclusion, from my mistakes I learned for future reference that using the discussion board at the very early stages would have been both a great saver of vital time and a good way to establish yourself among your group members.

However, once everyone was introduced to each other and we had established what skills we all had, we brainstormed ideas for the narrative and researched influences such as “the mask”, “sin city” and “samurai jack”.

After we had done this, we found that the whole process moved considerably quicker than that of the previous few weeks. Therefore, I would use this technique in the future due to successful results.

From all of the ideas we developed, we decided on the idea of Roto-scoping the whole narrative piece and agreed on the narrative structure to be known as “The Conflict”.

Therefore we decided to start filming. Filming was possibly the best section of our production, due to organisation and teamwork, which was displayed. We had the storyboard and a schedule to follow, which is documented on the online journal.

However, due to lack of previous meetings, we neglected the actual thoughts and actions of obtaining props, so we had to take time out of our lunch break to search for key props such as swords and a mask.

Also as our time for filming was un-flexible we found ourselves shooting the remaining shots which we didn’t have time to film, on the following day. If we had given ourselves a more flexible time schedule, we would have had more time spend on capturing and editing the shots within the editing suite.

However, I believe because we made a schedule and followed a set storyboard of shots, this led to a constructive filming session. This was still more efficient than not constructing a storyboard or a schedule to follow. However, I did learn to allow more time for filming, as you never know how long it might take. I also learned that is very important to devote more time to the planning of our props and other facilities/things we might have needed.

The capturing of shots off the Mini DV tape was easy but a very tedious job. This job went well as the shots were captured at least a second before and after the actual shot occurs, preventing the possibility of the start or end of a vital shot being cut off. This, we realised was a problem after we tried to capture the first few shots and the beginning was subsequently cut off. This was a helpful learning experience and I’m glad we spotted it at the start, thus saving us vital time we then went on to use for the large task of editing. Also, we named the shots sensibly and professionally for example “long shot sword fight one”, this was done so anyone from our group can access the footage and edit the film without guessing which shot is which, making the organisation user friendly.

The editing stage proved to be an easy but tedious job where we used techniques such as rapid switching shots to therefore produce tension within the film. I was very happy with the result and believe we succeeded in creating the tension that was originally desired by using this type of shot, which was initially planned, by using the mind mapping during the earlier meetings. Whilst I am pleased with the outcome, I still believe, to save time and make our way of working more efficient, half of our group could have produced the sound effects for the film simultaneously, which would subsequently enable us to concentrate on the considerably larger job of roto-scoping.

In the sound effects stage, (SFX) we decided to split out team due to varying vital skills; Adam had the skills and equipment to sufficiently produce the rota-scoping; Will had the skills of using the Mac (the sound booth was equipped with a Mac.) And Tom and I had previous knowledge of SFX recording. We therefore thought it was necessary to split the group into two to therefore produce the sound effects and roto-scoping simultaneously. In doing so, we all picked up vital skills, from each other, which will be very useful for the next project we will do. For example I learned how to use an apple Mac to record and distort sound effects on the software “Conflict”. Also, I was able to teach Will and Tom different techniques in order to create sufficient sounds. Referring to what has previously been said, we could have organised the SFX to take place at the same time as the editing. As this didn’t take place, I could have taken a tutorial on how to use a Mac and the software “Conflict” in order to save time to allow Will to help Adam with the time consuming roto-scoping.

The roto-scoping stages were the hardest stages in the whole process for our team as myself, Tom and Stuart had no knowledge or past experiences with roto-scoping. Because of this Adam and Will were left to do a very large task themselves. Now myself, Tom and Stuart have gained slightly more knowledge on how to rota-scope we would be able to help Adam and Will in the next project, thus speeding the process along.

The final stage in the process was the synchronisation of the non-diegetic audio (made in the sound booth) with the visual aspect (the final edit of the roto-scoped film) of the film in Premier Pro 1.5, thus completing the film. This was a simple job where we synchronised the sound effects with the unroto-scoped film in advance, which made it easy to synchronise the roto-scoped film with the audio. This was planned in previous group meetings. I believe that this was a good technique to use, as it prepared sound for the roto-scoped film, so we could simply just drag and drop the film into the film sequence. Therefore reducing time, which we could have spent on minor glitches, which might of occurred. Thankfully, there was no glitches, however this was a good learning experience because if we did experience problems we would have had plenty of time to sort them out. I will be carrying this technique into future projects as it performs as a safety net of time if needed.

To conclude, I believe I have shared my knowledge of film, camera, sound (SFX) and directing with my other group members. I have learnt several skills throughout this group project. Such as, how to keep and organise a well structured and flexible production schedule, which gives you extra time for glitches or un-expected errors. This will help massively in future projects. I have also learnt how to use an apple Mac that might be essential in future projects or for employers (for example sound editing, the university sound booths only run on Macs, or the BBC might use iMovies as an editing package instead of premier pro or another PC equivalent). I have also learnt Macromedia Flash which is a major success for me personally as well as professionally as I am keen so use Flash in the near future in other projects. Finally, the most vital skill I have obtained is how to work well in a team. You must keep work evenly spread, always communicate with team members and most importantly get to know your group members on a personal basis soon as possible, as it will be easier to work with members if you get along with them. This will improve the efficiency and the quality of the end product.

Final edit!

2006-12-04T08:48:00.000-08:00

http://www.youtube.com/watch?v=tYUIU3qkeb8

Click here to view the final edit!

After filming/editing

2006-12-04T08:26:00.000-08:00

We all decided to split the work, Adam decided he wanted to do the rotarscoping (sketch), whilst me, Tom and Will went ahead with the SFX, we booked out a sound booth and simply created several sounds and distorted effects which would work well, for example we just made alot of noise for 2 minutes and then distorted the noise with a "church effect" which gave an airy sense, which would add to the misc en scene. For hits we simply hit a key against the sound booth walls, and then using the "church effect" again, this gave a hard ringing clucnk, which went well with the actual video. The sword sounds was done similiar, however this time it was a key hitting another key, which gave a sharp ringing sound which worked well, yet again. Once we completed this we sync it with the normal edit, so it would be quicker and easier to add to the final rotarscoped version.

Once Adam edited the film we all came together and finalised the edit and burned it dvd as back-up

The Filming Part 2

2006-12-04T07:40:00.000-08:00

On Tuesday, the day after the first filming day, we decided to just gather a few more shots of a fight scene and some more experiemental and introduction shots. We started filming at 9am again in a empty theatre so we would have time to capture and edit the film sequence in premier pro. We flmed different angles of the actors breaking though a door which will edited into a mirror and we also filmed more running shots and extreme and normal closes ups on the figh scene.

After all the filming was completed we obtained an editing suite and I simply captured each separate shot and named them appropiately so, if anyone edits the film, they would easily understand the file names.

After we did this, Tom, started editing, however we all inputted. The day after the film sequence was completed:

http://www.youtube.com/watch?v=9bI4TrzNBeQ

Click above to view 1st edit.