THE END

Last night saw the ending to our Planning and Making a Film module... and it went with a bang.

All our films were showcased at The Little Theatre in Bath and it was an absolutely amazing night. It was so interesting seeing everyones films on a big screen, and although I had already watched all the other films, it was just excellent to see them in that kind of environment. It was great to see all the changes that people had made since their rough cuts, and personally I thought that The Cure [Dir. Liz Scott] really turned their film around with the narrative. It made the story line much smoother and added a depth to the main character.

I also really enjoyed what Lydia Beardmore did with my script "R.S.V.P". After seeing the rough cut I really hoped that they pick up the pace of the film a bit more... which they did. They added some excellent music and overall the film was a success. In comparison with my script it was definitely more 'censored' it could have been a lot messier... but that isn't necessarily a bad thing. It was a really interesting experience writing a script but to then have absolutely no involvement in producing it.

I said in my previous post "Editing and Final Cut the second time around" - I felt quite disappointed with how our film turned out, so I was really nervous about other people viewing it and how it would be received. But the audience's reaction was overwhelming.

As soon as the opening titles came up, my heart was in my mouth, and I don't think I have ever felt my chest beat that hard before. "Katy this would be the worst possible time to have a heart attack" was literally all that was going through my head. This was the first time any film I had made, had been publicly shown. It was exhilarating. The audience laughed at all the right moments, and even at unintended moments too, which was wonderful. So I found myself sat there actually enjoying our film properly for the first time. But the applause was absolutely amazing. I'm not gonna lie.... I LOVED IT! That has to be the best feeling in the world.

The Interview [Dir. Gus Newby] won the audiences' vote, and we also won a bottle of champagne coming 2nd - Which we drank with much appreciation. The majority of groups then strolled over to the Westgate for more celebratory drinks.

The whole night meant so much to me. I'm so glad we had this opportunity, because I think this is something I would really like to do in the future.

I really want to thank all the cast and crew for putting so much effort into making Dans L'Esprit: The Vision. Also thanks to Mike Johnston for all his help, and for organizing the event at The Little Theatre.

THE END

x

Editing & Final Cut, second time around.

The editing process went really well. Annabel our main editor was beyond fantastic. She is a total perfectionist which is brilliant because it meant that every scene is cut beautifully.

The images that I have inserted are just to support what I'm going to reflect, they are not the actual editing images unfortunately, but screen shots that I have taken from Final Cut Express.

We were using Final Cut Pro software again, which I think we're all starting to get the hang of. But this was the first time I had ever really learnt about colour correction. We were fortunate enough to be given the help of Jamie Worsfold going over our colour grading so that they look just right for the showing at the Little Theatre tomorrow.

Below are some examples of how colour correction changes the image. The first image is slightly under exposed, there's a lot of black due to the fact that it's not very well lit.

By adjusting the mid-tones and the saturation we can lift the image to bring out more of the whites.

The editing process was much longer with this film than the one we made before Christmas. This is partly down to the documentary style of the film, but also I think due to the fact that we were only using the Broadcast Lab macs rather than the convenience of a laptop. However this was perfectly fine as we had our rough cut and final cut ready in plenty of time.

I did begin to feel that towards the end of the edit, there were a lot of shots we probably should have re-taken as it left the impression on me that it really looked like a typical student film... and I had hoped to make something exceptional. I also felt as though maybe the story line could have done with a little bit more just to explain why Owen went so crazy. But as we had 15mins of film which we had to cut down to 8mins, there wasn't much we could do to save the pace of the film.

Dans L'Esprit: The Vision (Production) 19/20/21st March 2010

If I had to sum up our production weekend in three words, they would be:

• Intense
• Exciting
• Improvised

These probably shouldn't be the first words that come to mind, and combined they might sound disorganized but, this was the impression the production weekend left on me. I loved every second of it (Despite the tears, perhaps!).

Because we had so much to shoot and a busy cast, as director, I felt as though we should make the best use of our time by starting as soon as possible. We collected our kit on the Friday and went straight to location to shoot five of our scenes. However, we soon discovered that due to a faulty XLR lead, our sound input was terrible. We toyed with the idea of using the internal mic, hoping that this might add to style of the film, and emphasize the 'behind the scenes' vision. But after much deliberation it was decided that someone should head back to campus and collect a new lead (Rosie Harris wins 'Hero of the Day 2010' for that). Although this took nearly 3 hours (mainly due to rush hour traffic), I don't regret this decision at all. We had allowed plenty of time over the entirety of the weekend for any unforeseen circumstances.

Our shoot that was meant to start at 3pm didn't begin until 6:00pm.

The filming itself on the first day went very well, despite the weather. And due to the late start we didn't have enough daylight hours either, so had to make a few compromises concerning exterior scenes. But after swapping some of the scenes around we still managed to film as much as we intended on the first day. Everybody gave 100% effort.

The second day began slowly. I don't feel as though our time management was executed particularly well. We attempted to apply a tracking shot to our opening film noir scene, without actually using tracks. Mistake! Inevitably we spent too long trying to get that scene just right, I believe we had approx. 12 takes. For a scene that we had originally allowed 1 hour to shoot in total (inc. all 14 shots) took nearly 2 hours to capture. As a result, some of the cast were upset about being made to wait so long for their scenes, and most of the crew were feeling the pressure to get scene 1 in the bag. This was understandable, but they were all easily bribed with fish and chips and the mood was eventually raised.

The rest of the filming on Saturday went without a glitch. The weather was still terrible, so we continued with most of our interior scenes. There were a couple of scenes which we huddled under umbrellas, but thankfully on the final shooting day we got some brilliant sunshine, so were able to shoot our important exterior scene for Steve's speech.

One of the last scenes that we shot on the Saturday was the film's final scene - in which Owen the scriptwriter destroys the set and attacks Hubert Hall. Originally we had intended to shoot this scene outside with a club/bat and lots of blood. However, due to the unfavourable weather at the time we had to hold an emergency meeting to rewrite the scene. There was no way that we could have shot this scene as an interior with all the blood. Although short films can work unrealistically we decided it would be less believable for Owen to attack the cast and crew wielding a bat, and there not be any blood. So instead we re-wrote the scene with a gun.

We improvised again whilst filming this scene when Josh (Cameraman) managed to end up in front of Owen as he tried to exit, resulting in a chase. It was agreed that it was more entertaining as a story-line to see Hugh being threatened and then involve the character of the Cameraman more. I felt as though this worked on the level that the film we made was a

moc-k-umentary and so the involvement of the Cameraman as a character was essential. It just so happened that the ending of the film came about through unrehearsed choreography. It was also unnerving how naturally Rolf Pratt (Owen) conveyed the role of psychotic killer, "Does anybody want to be a hero?... Where you going CameraBoy?... I'm gonna put a bullet between your eyes!" -all Rolf's own work. Brilliant.

Sunday went incredibly smoothly, mainly due to the fact we had beautiful weather. We rapped at about 6pm and must have cleared out from our location around 7pm ish after grabbing a few establishing shots. And, so as not to break tradition, we then enjoyed an excellent rap party.

I really felt as though everybody involved put their all into making this film and I really hope that it shows.

I really enjoyed my role as director. The responsibility was huge, but as this was a group film, we made most of our decisions collectively. I think this was very important in order to maintain a group mentality.

Future Shorts

I just thought this was pretty damned good,
so wanted to share it...

I love the use of camera angles, the music is perfect,

and I really love the way it's cut together sharply.

You may not agree with me,

but I felt as though it was a condensed version of:

Eternal Sunshine of the Spotless Mind

(2004) [Dir. Michel Gondry]

...Only, just a little bit happier.

And of course, Eternal Sunshine of the Spotless Mind (2004) [Dir. Michel Gondry]

"I hope I didn't wake you, but I really want to show you something."

Suzie Templeton is one of my all time favourite directors/animators. I came across her work fairly recently actually while researching various markets, and it was love at first sight. If you have heard of her before, you probably best know her for her animated adaptation of Prokofiev's Peter and the Wolf.

Templeton made her first animation Stanely (1999) a student film on practically no budget. It tells the story of a man obsessed with his 'prize-winning' cabbage. What sets Templeton's film aside from the other student films is not only the quality of the animation, but her talent for story telling. It is sensitive and dark, Stanely has all the components that make up a strong film; a beginning, development and a conclusion, stitched together with humour and suspense.

Her first puppets were inexpensive armatures made from balsa-wood with latex layered over the top, and to shoot her 360 degree tracking shots Templeton set up toy train set tracks. To make parts of the sets Templeton roughed up collectors furniture pieces made for Barbie.

Templeton's second short animation Dog (2001) dealt with the suffering of a boy coming to terms with the death of his mother. This was Templeton's final graduation piece from the Royal College of Art and won her a Bafta.

What inspired me so much though was looking at the huge jump in production between making her films low budget to spending $2 million on Peter and the Wolf. I admire the fact that her style doesn't significantly change, yet the quality of the entire production is heightened. One of the things Templeton said she loved so much about animation was its solitary nature, and how dramatic a change it was going from pretty much working on her own to working with a crew of 200 people.

The set from Peter and the Wolf is literally mind blowing. I had never realised that animations could be made on such a large scale. Below are some pictures I found of the set during construction.

I could easily just go on adding some of her concept sketches and raving about how beautiful I think her work is, but I should let you decide for yourself.

And finally a clip from the Oscar winning short itself.... enjoy!

The Industry (Pre-Production)

Being part of Team B:AM! (who filmed Booty Call [2009] dir. Adam Tyler), I was slightly skeptical about working with friends, as everything becomes a lot more personal. I was worried about ideas clashing and people taking offense to suggestions being thrown out. If someone isn't doing their job properly or not putting in as much work, it's much harder to make decisions about confronting those issues. When there is already an established relationship; it is difficult to remain professional sometimes. Generally speaking I prefer to keep my work and my social life separate, but I have really enjoy working with Team B:AM! despite the technical issues.

We began work in February, it took us nearly two weeks to pick a script. All the submitted scripts were really interesting. We were advised not to pick a script written by anybody in the group as it would be difficult to look at it a fresh.

I personally really liked Josh Gimblett's script "The Legend of Gary Parsons", my views on it were that it's very ambitious and has great originality. Also, each time I've read it through it's made me laugh out loud. So I think that's very positive. The storyline is similar to Zelda or even Mario is the sense that the protagonists girlfriend is abducted by an evil gaming character and he has to go into the television to save her. But because I was working with Josh this script wasn't an option.

I also enjoyed Elspeth Wilds script "Two Sides of Every Wall", a romcom about a couple who meet but circumstances pull them apart, however they soon find out they live next door to each other. This one would have been very easy to film I reckon, and we could have done something very stylish with some of the scenes.

Luke Philips script "Treatment" would have been very interesting to make, but a lot more ambitious. Treatment tells the story of a man suffering from schizophrenia and how it affects his daily life. The end of the story shows that his girlfriend is just as important in his treatment as the medication he should be taking. This script worked on many levels, but while we tried re-writing it we felt as though we spent too much time changing it, that it was almost unrecognisable. This was a shame really because I felt as though we shouldn't have been trying to change it too much. I think this happened because nobody really felt comfortable on the script choice.

As everyone had different ideas, eventually we managed to agree and decided on The Industry written by Liz Scott. Rewriting the script took almost another two weeks. The re-write was a group decision but personally I didn't feel as though much re-writing was needed. However the script was changed quite dramatically. Characters were executed and new scenes written, but I feel as though the changes that Adam, Josh and Annabel made, added depth and humour to the story. Our script was then re-named Dans L'Esprit: The Vision. (translated as In The Sprit)

The combination of Scott's script and our own resulted in the birth of a moc-k-umentary style film, reminiscent of the well known This is Spinal Tap bred with some of the special behind the scenes moments from I Heart Hackabees more commonly known as I Hate Huckabees due to the fact that Lily Tomlin loses it with director David O. Russell. See below...

This Is Spinal Tap (1984) [Dir. Rob Reiner]

I Heart Huckabees. (2004) [Dir. David O. Russell]

Originally Adam Tyler was meant to be directing but as he wasn't making himself available, I took over the role with Adam as 'Assistant Director' and Stage Manager. Rosie Harris did a great job as producer finding our amazing location, and Josh Gimblett & Annabel Rudd made a fantastic crew as cameraman and sound(wo)man.

But as the filming weekend drew closer things began to get more stressful with the regular disappearances of Adam. We organised various trips to the location to work out where we wanted to shoot each scene, and to arrange with the owners what hours over the weekend we could film. In the week leading up to filming we held meetings with the cast on location to run through the script, which were successful but let down by the fact our props weren't ready.

If I could have changed anything about our pre-production it would have been the pace. I would have liked for everything to have been carried out a lot faster and been more organised. I feel as though we all could have been more prepared for our filming weekend, making sure costumes were professionally organised in time, and that our set was ready plus props. But understandably this is very difficult when everybody has such a heavy work load on top of this module. Our actors were brilliant though having already learnt their lines by the time we arrived for rehearsal on location.

Auditions

It's not long now till our shoot, and yesterday evening we held our auditions. I'm not going to lie, I was very excited by it all. Josh contacted Chris Jury who distributed an email to some of the performing arts students, and fortunately we had a great response. We booked out a room in the Newton building, and invited them to show us what they could do.

It was a brilliant experience. I'm feeling really confident that we've got our casting spot on.

I also contacted some of my friends from home and begged them to come up and play extras, so fingers crossed we should get a good turn out.

We held an open audition on 11th March for anybody interested in the roles, and thankfully had more than enough actors attend. I found the whole casting process really fun, but also found it difficult trying to give each actor the right part. Eventually, as everybody started to relax (including the crew) the characters really started to define themselves. I think our decisions were correct, and I was really pleased with our final cast.