What Worked
The development of the script was an incredibly valuable process, and through multiple tutorials I was able to take my very rough original draft and produce another 5. They have all added something to the story idea making tutorials one of the most valuable elements. Feedback in general was big for me throughout the term from tutors, but slo guest lecturers and peers. During several meetings with Lawrence Sedgwick and Plamen Dimitrov I was able to bounce ideas around to aid the story in moving forward.
What didn't work
Putting together a complete and thorough package. Having focussed too much on only script work and developing the story I failed to pay enough attention to producing a full package. Which immediately puts me on the back foot if I go onto shoot next February. I wasn't able to secure a location or my main prop an articulated lorry. I was also not able to put together a cast which I would put down to indecision and not being sure on the actors on Casting Call Pro and their showreels. Another thing I would say is that despite doing a website due to the extra it would give me to deliver the package I did not find it a very good method to present and would have in reflection preffered to do a book or at least an E-book to print.
What did I learn
That putting together the package was essential to be able to fully visualise my idea and to treat it like a professional piece of work. I would have divided my time and scheduled if I went back now to the beginning of the term. In reflection I would say I spent too much time trying to nail down which idea I wanted to pursue and write a full script for. Also doing character bios and looking into their backstories was something I didn't do early enough, that is something I would have done earlier to help develop the script further quicker and also make it easier to write.
What could I develop
Scheduling is something I have always struggled with but looking forward, it is probably the most important to help me in the future especially if I go forward and film the project.
Link for my package website:
http://backbonefilm.weebly.com
Friday, 16 December 2016
MAJOR PROJECT: DIRECTOR'S STATEMENT
Backbone
What is a Director's statement?
Passion:
As somebody who lived abroad for much of their life, coming back to Britain was daunting. Despite being British myself I was brought up in Latvia living permanently there until I was 12 years old. Especially when I first arrived I found the people very different to those in Latvia. Even hearing everyone around me speak English was a slightly foreign thing to me. A lot of my life so far has been moving schools I studied at 6 in total which made for a lot of new experiences coming in as an outsider.
I also speak Latvian fluently which I think gives a different perspective on things, being able to communicate in another language altogether. Essentially this is where I looked for ideas for my story COMMUNICATION was the word I thought of. I desperately wanted to experiment with the use of different forms of communication in my film. So I came up with several variations on the theme which included people who couldn't speak in the same language trying to communicate as well as versions of a translator being involved.
I eventually landed on this story because of a radio call in I heard which involved a man calling in distraught about his decision to vote leave in the UK EU vote in JUNE 2016. The passion from this man about his decision and how that will effect his 13 year old son as well as his life in general moved me profoundly. So I knew I had to use this as a starting point and work in other elements around him including a pair of immigrant brothers.
Inspiration
The film is a DRAMA. It will cover some pretty harrowing topics in straight up way. Dealing with death, the current immigration crisis, family loss and regret.
Cinematography
Lighting
Three separate sections of the film that will have different styles of lighting to represent where they are.
Editing and Camera Dynamics
The Editing style of Backbone will be slow paced compared to the quick cuts of action films. There will be moments that will require holding shots longer on the emotion of the main character RICK as his feelings change throughout.
The story begins with a bang in a person being run over, but from then on it will focus primarily on RICK and his performance. However towards the end I would like the editing to increase in pace as more characters get involved and especially when the authority figure of the police arrive on the scene. This will immediately add tension and a need to increase the cuts to show how each character is reacting to the Mexican standoff moment at the end of Backbone.
This clip from Channel 4's 'Utopia' (2013-14) has a nice pace of editing, there is some tension but it held back to allow for the conversations to take place comfortably without any need to rush or take things too slowly.
The film will take place in primarily one location so won't need many trumped up exotic editing techniques as the story will progress in real time throughout.
In terms of dynamics of the camera, it will change as a story I would like to use the tripod for the beginning as well as track & dolly but as things begin to take a twist I will shoot some of the last moment with handheld camera (Fig Rig).
What is a Director's statement?
Passion:
As somebody who lived abroad for much of their life, coming back to Britain was daunting. Despite being British myself I was brought up in Latvia living permanently there until I was 12 years old. Especially when I first arrived I found the people very different to those in Latvia. Even hearing everyone around me speak English was a slightly foreign thing to me. A lot of my life so far has been moving schools I studied at 6 in total which made for a lot of new experiences coming in as an outsider.
I also speak Latvian fluently which I think gives a different perspective on things, being able to communicate in another language altogether. Essentially this is where I looked for ideas for my story COMMUNICATION was the word I thought of. I desperately wanted to experiment with the use of different forms of communication in my film. So I came up with several variations on the theme which included people who couldn't speak in the same language trying to communicate as well as versions of a translator being involved.
I eventually landed on this story because of a radio call in I heard which involved a man calling in distraught about his decision to vote leave in the UK EU vote in JUNE 2016. The passion from this man about his decision and how that will effect his 13 year old son as well as his life in general moved me profoundly. So I knew I had to use this as a starting point and work in other elements around him including a pair of immigrant brothers.
Inspiration
- LBC (Leading Britain's Conversations) Radio call in between host James O'Brien and caller Richard. The call in happened on the 13th October some time after the 28th of June Referendum date. Richards sincerity and regret about his decision to vote leave caused an outpouring of emotions from him.
- 'Locke' (Directed by Steven Knight) (2013) Tom Hardy plays a man whose life collapses because of a one time mistake. He has to try and resolve the issue as his life collapses during a succession of phone calls made whilst driving along the motorway.
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| Tom Hardy in 'Locke' (2013) |
- Denis Villeneuve's films 'Prisoners' (2013), 'Sicario' (2015) and 'Arrival' (2016). For the way he depicts suspense in with his direction keeping them human and grounded even Arrival which involves an Alien arrival to earth.
- 'Utopia' Channel 4 (2013-14) (created by Dennis Kelly)
The film is a DRAMA. It will cover some pretty harrowing topics in straight up way. Dealing with death, the current immigration crisis, family loss and regret.
Cinematography
Lighting
Three separate sections of the film that will have different styles of lighting to represent where they are.
- LORRY CABIN INTERIOR - Lighting dark blues, greys taking inspiration from the films of David Fincher, but not going as dark as 'Fight Club' (1999) instead aiming more for the interior lighting from 'Gone Girl' (2014) also a Fincher film.
- Exteriors natural lighting using a reflector to light people faces.
- Inside the lorry TRAILER will be lit with very little, using spotlights only in these scenes. This will show the darkness and claustrophobia of the TRAILER and how difficult a situation this is for the two brothers, travelling for days in these conditions. Chiaroscuro painting a big inspiration for this style of lighting, Chiaroscuro being light to dark paintings exactly the kind of look I am searching for for the scene taking place inside the LORRY TRAILER.
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| Painting by Joseph Wright of Derby 'An experiment on a bird in the air pump' 1768 |
Editing and Camera Dynamics
The Editing style of Backbone will be slow paced compared to the quick cuts of action films. There will be moments that will require holding shots longer on the emotion of the main character RICK as his feelings change throughout.
The story begins with a bang in a person being run over, but from then on it will focus primarily on RICK and his performance. However towards the end I would like the editing to increase in pace as more characters get involved and especially when the authority figure of the police arrive on the scene. This will immediately add tension and a need to increase the cuts to show how each character is reacting to the Mexican standoff moment at the end of Backbone.
This clip from Channel 4's 'Utopia' (2013-14) has a nice pace of editing, there is some tension but it held back to allow for the conversations to take place comfortably without any need to rush or take things too slowly.
The film will take place in primarily one location so won't need many trumped up exotic editing techniques as the story will progress in real time throughout.
In terms of dynamics of the camera, it will change as a story I would like to use the tripod for the beginning as well as track & dolly but as things begin to take a twist I will shoot some of the last moment with handheld camera (Fig Rig).
MAJOR PROJECT: OUTPUT/AUDIENCE
Audience
Types of audience
Research into audience by Jeremy Tunstall of the City, University of London.
He puts audiences into groups, depending on watching habits how people watch films, television and media in general.
ENGAGEMENT
Types of audience
Research into audience by Jeremy Tunstall of the City, University of London.
He puts audiences into groups, depending on watching habits how people watch films, television and media in general.
ENGAGEMENT
- PRIMARY AUDIENCE - (close attention) cinema and books
- SECONDARY AUDIENCE - (media relegated to the background) Radio, some TV, music
- TERTIARY AUDIENCE - (although medium is present, no conscious monitoring takes place) pictures
The aim of my film is to fall into the PRIMARY category as I would like it to warrant undivided attention due the subject matter I wish to portray. It is not like sitcom you could have in the background and most definitely no anything like a photograph in terms of ENGAGEMENT.
BBFC
The British board of film classification
Originated in 1912 this independent, non-governmental body has been classifying films in the cinema for over 100 years and also video/DVD since 1984 and the introduction of the video recordings act.
- U - suitable for all
- PG - Parental guidance
- 12A - cinema release suitable for 12 years and over
- 12 - Video release suitable for 12 years and over
- 15 - suitable only for 15 years and over
- 18 - suitable only for adults
This is the standard format that is recognised throughout cinema releases and home video/DVD.
For Backbone I would look at the 15 rating for my film.
As outlined in the BBFC guidelines of 2014 my film suits the 15 rating well. Because it contains:
- It contains some strong language however in moderation (only 4-5 times swear words used throughout).
- It contains graphic bloody imagery, but not violence itself.
- There is also some threat involved, but again in moderation.
All of these points lead me to confirm at this stage that my film should be given a 15 rating if it were to be released today.
Films I would relate Backbone to that are also 15 ratings:
End of Watch (2012) (Dir. David Ayer)
This film was given its 15 certificate for: contains strong language, violence and sex references.
There is some very graphic imagery and language in this film, I would say this goes into the upper echelons of what a 15 certificate can be.
Backbone will not be this graphic or heavy in terms of language. Seeing this might suggest my film would belong in the 12A bracket, it is definitely somewhere in this area.
Output
As a short film drama I would be aiming to screen at various short films restricting myself to Europe. To begin with, however this is what film festivals can do that is what they are there for to gain attention and growing respect for a film.
Take Quentin Tarantino for example who begun his feature film career with Reservoir dogs which gained a standing and now a cult status due to its showing at the Sundance film festival in 1992. This caused the film to be recognised and subsequently shown on screens in the USA and the rest of the world grossing well over its original budget 1.2 million dollars.
I would like to aim my film at three different film festivals that would normally show this kind of film.
Firstly Tallinn Black nights film festival is a fairly small festival in Estonia. It is only 20 years old so is building a standing in the field of the film festival. But this would be an ideal kind of festival to screen my film at.
And example of a film that was shown there is 'Hunger' (2008) (Dir. Steve McQueen). This harrowing tale of the Irish Hunger strikes in 1981 Ireland starred Michel Fassbender and garnered huge indie acclaim launching the career of McQueen who went on to direct 2013's Oscars best picture 12 Years a Slave.
Another option aimed at just short films is the London short film festival. With 1500 UK and international submissions per year this fledgling festival is the perfect national film festival to aim for my film to be shown at.
Then there are options like the Watersprite international student film festival based in Cambridge and specifically catering to students. This would most likely be one of the first points of call for a student film like Backbone.
As a totally outside the box hypothetical option a world famous European festival Berlinale film festival. The famous festival with 60 plus years under its belt has hosted such films as multiple Oscar winner 'The Grand Budapest Hotel' (2014) (Dir. Wes Anderson).
Format
As well as the planned screening of the film in the Hazlitt Theatre in Maidstone it will be put online.
YOUTUBE
World renowned website Youtube is a great place to put the film for distribution, for more people to see it. As a free and accessible website Youtube can be watched all over the world and if specific people need watch the film then it is easily accessed and will be there indefinitely.
VIMEO
Secondary platform similar to Youtube, Vimeo is a website which allows for very high quality video to be shown. It is less well known worldwide as Youtube, but it is very good for showing off short films. The site has a staff pick, and short of the week channel which scour around to find the best new short films uploaded to Vimeo. This could potentially be a really interesting route to screen the film rather than taking it to film festivals.
Thursday, 15 December 2016
MAJOR PROJECT: MARKETING/BRANDING - RESEARCH AND DESIGNS
Films know that if they can put together a good marketing campaign for their film it could be the difference between making a profit and making a loss. This is why large amounts of films budgets are spent on TV ad's, posters, billboards and social media marketing to make sure people know about it.
Designing posters and adverts is something that is taken very seriously for films distribution companies work tirelessly to get the word out.
AIDA - Attention, interest, desire, action. This is a term that has been used for many previous film distribution campaigns (according to web designer depot)
- ATTENTION - grabbing a passer by's attention causing them to take a second look. Using the film's characters or elements of the plot designers can establish some plot points while still attracting attention.
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| Simple bright posters, nothing particularly revolutionary but makes you look. |
- INTEREST - When it can't be explained using iconography, posters that give viewers an idea of the story can work. There are many examples of modern films that take the approach of putting you into a scene therefore peaking curiosity as to how this scene may have come about or where it is going. This is a strategy that works most efficiently for films of a fantastical, science fiction nature.
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| Poster from 2010's Inception which depicts something unreal and makes the viewer wonder how this happened. |
- DESIRE - Fans and non fans.
- This poster for 'Inglorious Basterds' (2009) addresses both the fan and the non fan, as fans would already be aware of a film by such a famous director where as non fans would still be enticed by the sight of this poster.
- ACTION - Giving the viewer an action, to go to a website for example.
I've taken this into my project by using these terms to show how to structure a poster to market to an audience. These are some ideas I have put together as a mood board.
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This early poster idea keeps things simple. With a simple font and an X-ray of a backbone, which doesn't give anything away. However the thing about this is it could be taken the wrong way to make people think that it is a medical film/show.
Subtle is good, but getting the right amount is key this is why I thought to add another element to this same title to make give the viewer something else to see.
I added a metal pole in the centre to pose another question, what do these two have in common why is their a metal pole their.
This was a more abstract idea that maybe suggests something with the lorry and the red colour messily covering the side. But you would only really understand the reference after watching the film.
What I really needed to aim for was to show a glimpse of the story to a completely unknowing audience.
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I think this poster tells the viewer just a little bit almost enough. This x-ray look at the inside image of the lorry shows you that there is somebody inside. It immediately shows the viewer one of the major themes of the story which is immigration. This is something I would like to explore further in the next term to really make sure there is a clear brand and style to my film.
MAJOR PROJECT: CREW
Alex Barker- Writer/Director/Producer/Editor
So I myself in the process of writing the script will be directing, producing and editing the film Backbone. This will require quite a lot of work, but at this stage that is where I am. Currently on the 6th draft of my script it is almost in a position to take to shooting in February next year.
Mike Hoad - DOP
Mike is already and experienced DOP who has worked on many projects throughout his University time here at UCA. He was the DOP on last years graduate film Grit and did an incredible job giving that film the look it needed. Being experienced in camera equipment and lighting he has the perfect amount of experience to help me and my team to get the right look and feel for my film Grit.
Plamen Dimitrov - Sound operator/Executive Producer
Plamen has been a long time collaborator with me throughout my time at UCA. We have worked on each others projects being DOP and Director alternatively. He is someone who I know can produce good work and will help me being on my project. He will be the sound operator on this film as well as an executive producer having helped in the development of the story idea from the beginning.
Lawrence Sedgwick - Lighting operator/Executive Producer
Like Plamen, Lawrence has been involved in the story since its inception having helped me brainstorm through various ideas and possibilities. I would like to have him help us one set and therefore I have assigned him the lighting operator role that way he can help Mike being his hands on assistant to make sure the lighting is all good.
Josh Bayly - Camera assistant
Josh is a second year who is keen to help me out and get the experience working on a third year project in preparation for next year. I am confident in his ability having seen his work from his previous work.
Troy Smith - Production assistant
I have been impressed with Troy's work having seen his films from his last year and a half on the course. Much like myself helping on a project like this will benefit his experience in anticipation for third year work.
Wednesday, 14 December 2016
MAJOR PROJECT: LOCATIONS
Looking for a location has been a challenge for Backbone as it has not been as easy as getting a location and telling them we have 7 crew, my film requires a large articulated lorry to be in it throughout its runtime. But at the same time locations are important to the story.
After consulting the Kent Film Office for advice about how I might get a Lorry for my film and a location they gave me some pointers and helpful tips. What I need for the bulk of my story is somewhere the lorry can be parked away from anyone in the background. Originally I decided to drive around the Maidstone area here in Kent to places like Aysleford and Snodland as well as Maidstone itself.
I originally found this place as an example of a lorry lay-by:
However this was a trend throughout my scouting, that they would generally be very full or inaccessible to HGV's. I also looked at a small piece of road in Chessington, Greater London/Surrey which is freely available for me to use. However the problem here is access and distance to Kent, its an hours drive from Maidstone to Kent and I feel this would be a difficulty logistically. The bonus is that I would have a free location to use, but I also discovered that it would be almost impossible for a lorry of the size I want to get to this location.
It is disappointing because I think this location would have fit quite well with my story, but for now I think it serves as an interesting mood board of what I might film. The Kent film office also recommended that I search the area using google maps, to spot open spaces that might potentially be usable and empty enough for filming. I was advised to research local schools who have empty car parks at weekends, industrial parks and even the park and ride in Maidstone.
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THE LONG SHOT
The above screenshot is of a currently unused car park very near the Maidstone studios. Its situated on Sittingbourne road behind the shop Next and the Towergate insurance building. What is great about this location is its quiet position in 15 minutes there only 2 cars came past me. However the big problem is accessibility to the location there are blockades on the two obvious entrances to this abandoned car park.
The two entranced above are blocked, however I will still inquire with the local council as to the plans for this and if their might be a slight possibility I could film there. There is so much space to use and its so quiet that it would be ideal for the main part of the story to be told in.
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As well as this ideal location, I have explored the possibility as suggested to me by the Kent film office of using the Maidstone park and ride car park on days when it is not busy. Using one corner of the car park to film leaving the rest free for cars to park in.
What I liked about this location is the shape of it, looking back to the start of this post and the video about settings as characters too I thought this could symbolise a dead end for the character and a sense of being trapped.
Again however the questions are access to this location and how to get a lorry there. This will be a challenge to work hard on throughout the christmas break and into the next term.
After consulting the Kent Film Office for advice about how I might get a Lorry for my film and a location they gave me some pointers and helpful tips. What I need for the bulk of my story is somewhere the lorry can be parked away from anyone in the background. Originally I decided to drive around the Maidstone area here in Kent to places like Aysleford and Snodland as well as Maidstone itself.
I originally found this place as an example of a lorry lay-by:
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| Lay-by next to Leybourne Lakes country park |
It is disappointing because I think this location would have fit quite well with my story, but for now I think it serves as an interesting mood board of what I might film. The Kent film office also recommended that I search the area using google maps, to spot open spaces that might potentially be usable and empty enough for filming. I was advised to research local schools who have empty car parks at weekends, industrial parks and even the park and ride in Maidstone.
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THE LONG SHOT
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As well as this ideal location, I have explored the possibility as suggested to me by the Kent film office of using the Maidstone park and ride car park on days when it is not busy. Using one corner of the car park to film leaving the rest free for cars to park in.
What I liked about this location is the shape of it, looking back to the start of this post and the video about settings as characters too I thought this could symbolise a dead end for the character and a sense of being trapped.
Again however the questions are access to this location and how to get a lorry there. This will be a challenge to work hard on throughout the christmas break and into the next term.
Tuesday, 13 December 2016
MAJOR PROJECT: EQUIPMENT
Getting the right equipment for shooting is an important part of the film making process for which I will explore so as to develop the best shots and sound that I can to edit into a good film.
Camera
For my camera I will be using one of either the Canon 7D DSLR or the Black Magic Ursa Mini 4K EF. The reason I haven't made a determined decision is that I haven't had a chance to see and feel the Black magic yet. Plamen Dimitrov my sound operator will be ordering the camera for the beginning of January 2017 so that he can use it on his film. So we have agreed that I will be able to use it on my film if he does indeed also go ahead with it. I will discuss this in further detail with my DOP Mike when I have a meeting with him on Saturday this week.
Canon 7D DSLR camera
Image sensor: CMOS
Megapixels: 18.0
Sensor format: APS-C
Filming resolution: 1920*1080 (30p/25p/24p)
1280*720 (60p/50p)
640*480 (60p/50p)
Canon DSLR's although very adept camera's have certain limits in their sensor size. I would be very happy to use this camera, as exemplified by last years graduate film 'Routes' it can be used very effectively.
Black Magic Ursa mini 4K (EF-mount)
This camera looks astonishing really filmic compared to anything I have shot on so far, so if it is achievable it would be brilliant to get it into the hands of my DOP. There is some test footage below and a little bit of a review:
Although I haven't had a chance to look at this camera myself yet the shots on here look really professional and very film ready.
Specifications
Image sensor: Super-35mm CMOS
Resolution: 4000*2160 video up to 60p
1080p viewing screen (playback)
I am confident in Mike's ability to use this camera as he has had experience with many different cameras and now works in an equipment store in London working with all kinds of technical film equipment.
Lighting
As I will be shooting primarily on location I will need the most portable and effective lights. My most likely option is to use the battery powered led lights combined with the clever use of natural light.
I would if it is possible want to use the stronger Arri lights from the studios equipment store. This would be most effective for the interior of the trailer shots which could be potentially filmed somewhere else. This could be achieved using an interior dark room set up with well lit subject and also through of sound design in post production.
Sound
At the moment I will be using the location sound kit from the studios equipment store which consists of boom pole and rode microphone, but I will look into other options if I believe it is possible.
Camera
For my camera I will be using one of either the Canon 7D DSLR or the Black Magic Ursa Mini 4K EF. The reason I haven't made a determined decision is that I haven't had a chance to see and feel the Black magic yet. Plamen Dimitrov my sound operator will be ordering the camera for the beginning of January 2017 so that he can use it on his film. So we have agreed that I will be able to use it on my film if he does indeed also go ahead with it. I will discuss this in further detail with my DOP Mike when I have a meeting with him on Saturday this week.
Canon 7D DSLR camera
Image sensor: CMOS
Megapixels: 18.0
Sensor format: APS-C
Filming resolution: 1920*1080 (30p/25p/24p)
1280*720 (60p/50p)
640*480 (60p/50p)
Canon DSLR's although very adept camera's have certain limits in their sensor size. I would be very happy to use this camera, as exemplified by last years graduate film 'Routes' it can be used very effectively.
Black Magic Ursa mini 4K (EF-mount)
This camera looks astonishing really filmic compared to anything I have shot on so far, so if it is achievable it would be brilliant to get it into the hands of my DOP. There is some test footage below and a little bit of a review:
Although I haven't had a chance to look at this camera myself yet the shots on here look really professional and very film ready.
Specifications
Image sensor: Super-35mm CMOS
Resolution: 4000*2160 video up to 60p
1080p viewing screen (playback)
I am confident in Mike's ability to use this camera as he has had experience with many different cameras and now works in an equipment store in London working with all kinds of technical film equipment.
Lighting
As I will be shooting primarily on location I will need the most portable and effective lights. My most likely option is to use the battery powered led lights combined with the clever use of natural light.
I would if it is possible want to use the stronger Arri lights from the studios equipment store. This would be most effective for the interior of the trailer shots which could be potentially filmed somewhere else. This could be achieved using an interior dark room set up with well lit subject and also through of sound design in post production.
Sound
At the moment I will be using the location sound kit from the studios equipment store which consists of boom pole and rode microphone, but I will look into other options if I believe it is possible.
Saturday, 10 December 2016
MAJOR PROJECT: VISUAL STYLES RESEARCH
The film director's Visual style
PRIMORDIAL IMAGE: An image used to show the audience the story world. For example something that could be classed as a primordial image is the aspect ratio in Wes Anderson's 'The Grad Budapest Hotel' (2014) which for the majority of the film stays in the old academy 1:37:1 look to compliment the era it is set in. It also has a vibrant colour palette as well as Anderson's signature centred characters, tracking and symmetrical shots.
Visuals of Backbone
PRIMORDIAL IMAGE: An image used to show the audience the story world. For example something that could be classed as a primordial image is the aspect ratio in Wes Anderson's 'The Grad Budapest Hotel' (2014) which for the majority of the film stays in the old academy 1:37:1 look to compliment the era it is set in. It also has a vibrant colour palette as well as Anderson's signature centred characters, tracking and symmetrical shots.
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| Screenshot from 'The Grand Budapest Hotel' (2014) |
Dark/Gritty: Lorry interior
Light/Rural: All scenes outside the lorry
Claustrophobic: Interior of the lorry trailer
Dark/Gritty
The inside of the lorry's cabin is messy, the driver RICK has spent many hours travelling in there. It is more like a teenagers bedroom than the inside of a vehicle. Food and drink packages strewn all over the place and a generally dark despondent interior. This will be shot fairly close up to show details of the cabin and the emotions of the character as he goes from one incident to the next.
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| Interior car shot from 'Prisoners' (2013) |
Light/Rural
The exterior shots will be during the day, it will be bright daylight a total contrast to the inside of the lorry. For everything that takes place outside on the roadside, this will show a kind of light at the end of the tunnel effect for the immigrants hiding in the back of the lorry. The exterior shots will need colourist as well to accentuate the brightness and vibrancy of the nature outside as opposed to the claustrophobic interiors.
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| Exterior shot from 'Hunt for the Wilderpeople' (2016) |
Claustrophobic
The interior of the lorry trailer will be claustrophobic and dark to show the terrible conditions these boys have had to travel in for hours if not days.
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| Example of a claustrophobic shot from 'Buried' 2010 |
Framing Backbone
For each separate area of action in Backbone I will be aiming for a certain style of shooting with my DOP Mike Hoad. My main character will get most of the attention throughout as the story will be told from his perspective.
Lorry Cabin
In the lorry cabin the framing will keep generally close to RICK keeping to close-ups, MCU's and Medium shots to keep the viewers attention on him as he goes through different processes after the shocking accident he gets involved in. The inside of the lorry cabin won't be as crammed and claustrophobic as the back of the lorry but it will still be tight compared with the outside.
As well as the shots for RICK, there will be detail shots for props like his old phone, blunt object he will use as weapon, dirtiness of the cabin interior. These will help to establish who my character is and what he is like as well as key plot items.
Roadside
As soon as RICK jumps down from the lorry we will move to slightly wider shots to show the openness and emptiness of his surroundings. However still returning to mediums and MCU's for when RICK is reacting to the blood on the lorry and the noise from inside the lorry trailer. There will be the need for detail shots on blood.
Lorry trailer
Medium, Object close-up and Face close-up. This scene will briefly introduce the two young brothers in their claustrophobic predicament. This will require some simple shots to show the characters surroundings a piece of detail (a PHOTO) and the feelings of the characters.
Lighting Backbone
Lighting is a vital element of how to make a film. Roger Deakins renowned cinematographer says:
"You need to light a space so you can see the actors – but, more than that, you are creating a mood, you are creating a world for those actors to inhabit and for the audience to get submersed in. Lighting is one of the most important aspects of any great film." (Roger Deakins)
That is what I will aim to do create a world in which the viewer can be submersed in whilst watching the film.
Lorry Cabin
For inside the lorry cabin I will be aiming to emulate the style of David Fincher in his use of dark gloomy shots. I would like to show that my character is not in a very exciting place in a dull job.
Roadside
For the scenes outside I want to raise the temperature slightly giving it a warmer brighter look than the glum looking interiors of the lorry cabin and trailer. The idea is to make it to make it look bright and appealing for when the doors are open to the lorry trailer and into view of the young boys eyes.
I will aim to have the scene bright, but also look to post production to up the yellows and reduce the darkness in the exterior shots.
Lorry trailer
For the inside there will room to express some interesting techniques in low ket lighting. This space will be dark and claustrophobic and to help express that I have drawn inspiration from painting. I have looked at various different artists who have painted chiaroscuro pieces.
"This is an Italian term which literally means 'light-dark'. In paintings the description refers to clear tonal contrasts which are often used to suggest the volume and modelling of the subjects depicted." (National Gallery definition for Chiaroscuro)
This contrast between light and dark will help really sell the situation the two brothers are in and how they might feel not knowing very much about where they are or when they might get out.
I also discovered a more contemporary artist for inspiration for the close up shots. Jeroen Can Valkenburg is a Dutch artist who produces oil paintings inspired by the Viking era 9th to 11th century A.D. He has produced a number of chiaroscuro paintings of viking inspired faces which were really inspiring for me in coming up with a look for the interior of the lorry trailer.
 |
| Example of detail shot from Room (2015) |
Roadside
As soon as RICK jumps down from the lorry we will move to slightly wider shots to show the openness and emptiness of his surroundings. However still returning to mediums and MCU's for when RICK is reacting to the blood on the lorry and the noise from inside the lorry trailer. There will be the need for detail shots on blood.
 |
| Shot from Utopia (2013-14) that shows openness and light of outside |
Lorry trailer
Medium, Object close-up and Face close-up. This scene will briefly introduce the two young brothers in their claustrophobic predicament. This will require some simple shots to show the characters surroundings a piece of detail (a PHOTO) and the feelings of the characters.
Lighting Backbone
Lighting is a vital element of how to make a film. Roger Deakins renowned cinematographer says:
"You need to light a space so you can see the actors – but, more than that, you are creating a mood, you are creating a world for those actors to inhabit and for the audience to get submersed in. Lighting is one of the most important aspects of any great film." (Roger Deakins)
That is what I will aim to do create a world in which the viewer can be submersed in whilst watching the film.
Lorry Cabin
For inside the lorry cabin I will be aiming to emulate the style of David Fincher in his use of dark gloomy shots. I would like to show that my character is not in a very exciting place in a dull job.
 |
| Example from Seven (1995) |
Roadside
For the scenes outside I want to raise the temperature slightly giving it a warmer brighter look than the glum looking interiors of the lorry cabin and trailer. The idea is to make it to make it look bright and appealing for when the doors are open to the lorry trailer and into view of the young boys eyes.
I will aim to have the scene bright, but also look to post production to up the yellows and reduce the darkness in the exterior shots.
 |
| Example of the kind of lighting and colour of exterior shots from Utopia (2013-14) |
Lorry trailer
For the inside there will room to express some interesting techniques in low ket lighting. This space will be dark and claustrophobic and to help express that I have drawn inspiration from painting. I have looked at various different artists who have painted chiaroscuro pieces.
"This is an Italian term which literally means 'light-dark'. In paintings the description refers to clear tonal contrasts which are often used to suggest the volume and modelling of the subjects depicted." (National Gallery definition for Chiaroscuro)
This contrast between light and dark will help really sell the situation the two brothers are in and how they might feel not knowing very much about where they are or when they might get out.
 |
| 'An experiment on a bird in the air pump' by Joseph Wright of Derby (1768) |
I also discovered a more contemporary artist for inspiration for the close up shots. Jeroen Can Valkenburg is a Dutch artist who produces oil paintings inspired by the Viking era 9th to 11th century A.D. He has produced a number of chiaroscuro paintings of viking inspired faces which were really inspiring for me in coming up with a look for the interior of the lorry trailer.
 |
| Example of his work from the album cover of 'Projekt Terrror' by a band named Stalaggh. |
Friday, 25 November 2016
MAJOR PROJECT: SOUNDTRACK AND SOUND DESIGN
Importance of a film's music
Leitmotif
The Leitmotif can be a powerful tool for a films score. It is music that adds a sense of continuity and development to characters, places and ideas (GCSE Bitesize - Film music leitmotif definition). An incentive for me to use a composer in my film is because of the way they can be so effective in developing and aiding a story. There aren't many better examples of the use of leitmotif's than by Howard Shore in 'The Lord of the Rings' trilogy (2001-2003). The video below very helpfully helps realise the strength of this.
From Youtube channel 'Nerdwriter1' making commentaries about Howard Shore's score.
The possible argument against using the leitmotif composer technique would be the short length of my film in comparison to for example 'The Lord of the Rings' trilogy.
The film soundtrack is an important choice for me to make regarding my film. Whether I use a score to help further the story which is a proven effective technique. Or if I choose to dispense with music altogether having faith in my ability to create effective sound design and the ability of my actors.
Here is another video which looks at examples of how scores can be effective:
From 'Now you see it' a 'Patreon' backed channel on Youtube.
Film Composers to explore in relation to the style I wish to achieve from my film:
Johann Johannsson:
Icelandic composer who has worked on three films directed by Denis Villeneuve Prisoners (2013), Sicario (2015) and Arrival (2016). His scores have the ability to send chills down your spine adding another layer to the suspense of the films. Contemporary music using classical instruments and elements of electronic music, he can be described as minimalist and this is something I would like to look for in a score.
Bernard Herrmann:
His work on 'Psycho' (1960) is some of the most recognisable and most chilling suspenseful music in film as well as Hitchcock's films 'Vertigo' (1958), 'The man who knew too much' (1956) and 'North by NorthWest' (1959). Also his work on 'Taxi Driver' (1976) which has an underlying theme that runs throughout the film giving you a tense feeling throughout.
His work on the Hitchcock films is memorable and right there and integral to how each film works. If I were to go down a route of this nature I would have to consider how each piece of music would develop the story and help further it emotionally. The style of score Hermann put together on Hitchcock's films in particular suited the suspense thriller nature, whether my film is to go down this route is to be determined by how the next couple drafts develop.
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For my film my immediate thought is the realism could be a case for keeping the music minimal or even excluding music altogether, like in this video below about Martin Scorsese:
From a Video by Tony Zhou creator of the channel 'Every frame a painting'.
'No country for old men' (2007) uses very little music throughout, but still manages to create an effective terrifying villain played by Javier Bardem. I one particular scene he strangles a man to death. There is no music playing just the sounds of the poor man struggling and struggling and struggling as he is slowly killed by the merciless killer.
The scene demonstrates who the character is and his lack of empathy towards taking someones life. What stands out to me is the small amount of dialogue the key moment for me is the end where he takes his deep breaths whilst still lying under the other mans body. This is in stark contrast to some hollywood films which would have given the character a quip to say. This scene purposefully does the opposite to unsettle the viewer and further demonstrate this characters potential for evil.
Leitmotif
The Leitmotif can be a powerful tool for a films score. It is music that adds a sense of continuity and development to characters, places and ideas (GCSE Bitesize - Film music leitmotif definition). An incentive for me to use a composer in my film is because of the way they can be so effective in developing and aiding a story. There aren't many better examples of the use of leitmotif's than by Howard Shore in 'The Lord of the Rings' trilogy (2001-2003). The video below very helpfully helps realise the strength of this.
From Youtube channel 'Nerdwriter1' making commentaries about Howard Shore's score.
The possible argument against using the leitmotif composer technique would be the short length of my film in comparison to for example 'The Lord of the Rings' trilogy.
The film soundtrack is an important choice for me to make regarding my film. Whether I use a score to help further the story which is a proven effective technique. Or if I choose to dispense with music altogether having faith in my ability to create effective sound design and the ability of my actors.
Here is another video which looks at examples of how scores can be effective:
From 'Now you see it' a 'Patreon' backed channel on Youtube.
Film Composers to explore in relation to the style I wish to achieve from my film:
Johann Johannsson:
Icelandic composer who has worked on three films directed by Denis Villeneuve Prisoners (2013), Sicario (2015) and Arrival (2016). His scores have the ability to send chills down your spine adding another layer to the suspense of the films. Contemporary music using classical instruments and elements of electronic music, he can be described as minimalist and this is something I would like to look for in a score.
Bernard Herrmann:
His work on 'Psycho' (1960) is some of the most recognisable and most chilling suspenseful music in film as well as Hitchcock's films 'Vertigo' (1958), 'The man who knew too much' (1956) and 'North by NorthWest' (1959). Also his work on 'Taxi Driver' (1976) which has an underlying theme that runs throughout the film giving you a tense feeling throughout.
His work on the Hitchcock films is memorable and right there and integral to how each film works. If I were to go down a route of this nature I would have to consider how each piece of music would develop the story and help further it emotionally. The style of score Hermann put together on Hitchcock's films in particular suited the suspense thriller nature, whether my film is to go down this route is to be determined by how the next couple drafts develop.
――――――――――――――――――――――――――――――――――――――――
For my film my immediate thought is the realism could be a case for keeping the music minimal or even excluding music altogether, like in this video below about Martin Scorsese:
From a Video by Tony Zhou creator of the channel 'Every frame a painting'.
'No country for old men' (2007) uses very little music throughout, but still manages to create an effective terrifying villain played by Javier Bardem. I one particular scene he strangles a man to death. There is no music playing just the sounds of the poor man struggling and struggling and struggling as he is slowly killed by the merciless killer.
The scene demonstrates who the character is and his lack of empathy towards taking someones life. What stands out to me is the small amount of dialogue the key moment for me is the end where he takes his deep breaths whilst still lying under the other mans body. This is in stark contrast to some hollywood films which would have given the character a quip to say. This scene purposefully does the opposite to unsettle the viewer and further demonstrate this characters potential for evil.
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