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How Creative Industries are linked!
Film --> Internet
Film is a key medium on the internet, used for news videos, vines, vloging, you can download whole films.
Film --> Games
Games can inspire films and films can inspire games! For example Assassins creed was first a game but has been made into a film. Also film can be used within games creating plot line. There are many games where you make choices for the characters and watch them play out. This is a film where the audience controls the outcomes.
Film --> Music
Music can be used as background atmosphere or be essential to plot. Directors such as Quentin Tarantino even set choosing the music as the first step towards making a film. Music can define mood, setting and time periods. Some actors find it useful when preparing for a role to find their characters soundtrack.
Music can also use film to enhance it’s features. Eg - In music videos! The picture is chosen to suit the music instead!
Film --> Books/Comics
Films can inspire books and comics to be created and books and comics often inspire the creation of films. Often once there is a relationship between book and film, the plot line is shared between the two.
Film --> Theatre
There are live theatre showings in hundreds of cinemas across the UK. Film is opening up the theatre for all types of people who wouldn’t usually see or can't afford top end theatre.
Also the use of film is often used in theatre, projected onto backdrops. This was shown in the RSC’s latest performance of The Tempest in which a fierce storm was projected onto a backdrop, giving the scene visual context.
Film --> TV
Television has channels for films, and show series. Mainstream series are often more edgy than mainstream films as they are easier to get money for to make. TV is just a box of film, some of it live, some of it cartoons but it’s all essentially moving image.
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WHATS NEXT?
Unfortunately I missed the last session, but these are links I picked up over the duration of the course.
Future HE/FE opportunity websites
Creative Skillset – https://creativeskillset.org/
Arts Council – http://www.artscouncil.org.uk/
Arts Jobs – http://www.artsjobs.org.uk/
BFI – http://www.bfi.org.uk/
NFTS – https://nfts.co.uk/
London Film School – http://lfs.org.uk/
MET Film School – https://www.metfilmschool.ac.uk/
Screen Academy Scotland – http://www.screenacademyscotland.ac.uk/
Delamar Academy of Make-Up and Hair – http://www.delamaracademy.co.uk/
Film London – http://filmlondon.org.uk/trainingandsupport
Other opportunities
Nottingham Filmmakers Society - Facebook
BFI Craft Skills residential - Next easter
Monthly Thursday Film club
Television Workshop & Actors Workshop - For casting
Free 3 months subscription to BFI player!
SHORTFLIX - (Next years)
Future film festival - (February)
BAFTA’s opportunities for young people
Read emails from Ella!
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COPYRIGHT
Regulations on copyrighted material
The owner can regulate the uses and sales of the product
It can stop unwanted circulation of the material
Prevents people making money off of material which is not theres
You have to get a licence from the owner to get any copyrighted material.
What can be copyrighted?
Films
Art
Photos
Logos
Games
Logos and brands
Music
How can Copyright affect the filming process?
Be careful of background music
Be careful of background logos
You have to source non-copyrighted music
Be careful of videos in the background
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CAST
ASPEN - PLAYED BY CHLOE MARTIN
Calm, collected & slightly self entitled.
MAX - PLAYED BY ANDREW STEVENSON
Full of energy, impatient & materialistic.
ROWANDA - PLAYED BY TORI HOPE
A saleswoman.
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PROPS
INSPIRATION
WHAT WE USED
Babies - We used plastic babies, decorated by Caitlin, the production designer. We thought about having edited pictures of babies but decided this would limit the angles we could film from.
Baby tubes - After searching endlessly for vases and tubes, Paul, a mentor brought us in mini glass greenhouse domes which we squashed the dolls into.
Fairy lights - We used fairy lights cellotaped to the bottom of the domes in an attempt to light the dolls.
Podiums - We borrowed these from broadway
Skull - I brought this from home! It was in my garden and added an eiriee tone, almost suggesting that in this time a sheep skull could be a relic. That natura things had been lost.
Ipad - Borrowed from Roger
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FILMING WEEKEND
DAY ONE!!
First of all was the get in. I think we left it a little late, as the other groups had already started filming as we only just arrived. I think if I was to do it again I would definitely have an earlier start. We hadn't planned out the room design which was a stress! So a large amount of effort was put into making the room look right. We chose to have a skull sat on Rowanda’s desk that had been an ornament in my garden since I could remember, and with it came several creepy crawlies. Another point for my next film - thoroughly clean all props that come from gardens.
We met and greeted the actors and began to do their makeup. I had a sudden brain freeze whether Max should or shouldn't wear futuristic-y makeup. There were arguments put for, he wears glitter to try and be like Aspen whom he idolises, or he doesn’t because he’s your regular joe. In the end I decided on no glitter. Then I put the glitter on. Then I changed my mind and tried to take it off, but the glitter just wouldn't budge. I suppose that was decision made! *Sigh of relief*. I think the biggest thing I’ve learnt from this process is that quick decision making is really hard; but, with decisions in filmmaking there generally isn’t a right answer, and as director every decision you make gets to be the right one. So no need for glitter-related breakdowns.
Filming was the best bit, I think Fynn and I made a really good team. Though he was working the camera and lights he fell a little into the role of co-director, it was nice to have a second opinion and his creative input on shots. I think we got some lovely shots, some were a little over-exposed, but we’ll be able to fix them in post production and as well as this, the painful too-bright-light made the scene seem quite clinical which i realy liked.
The end of the day was a bit of a rush. Everyone was exhausted and my feet really hurt. We were very lucky to have Adam, who hurried us all along. We managed to get all the shots needed, including the very last shot of the film that we shot with a Gopro. It’s from the baby’s perspective and has nose-heavy shots of the new parents. I really like these, they’re comedic but also a little freaky and make the actors seem huge. It makes you feel sorry for the babies.
DAY TWO!!!!!!!!
I had learnt from my mistakes of heeled boots the day before and and wore slippers. I didn’t realise filmmaking involved so much standing up. Again it felt like a slow start, we drove all our equipment across Nottingham to our venue Pure Aesthetics. I thought our venue was pretty perfect, we filmed in the botox room. It felt nice and artificial, like our film.
A big challenge were the babies in the tubes and the lighting of these. I feel like as a group we should have put a lot more thought and preparation into how to present the babies. It was a difficult task to leave to just our production designer Caitlin, and I think we should have supported her more. In the end Nina our Producer rushed off to poundland to get some white fairy lights that I then sellotaped to the bottom of the jars. What would have been perfect was to have the jars glowing, creating the lighting for the actors to lean into our of the darkness. This would make it seem as though the babies were a source of energy and were full of life, it also would hide them in shadow a little more and possibly mask the fact they were plastic dolls! We did the best with the time we had and tried to get the pillars to glow instead and lit the actors from below to try and give the impression the baby jars were giving off light.
I really wish I’d had more time rehearsing with the actors. I’d planned out the movement around the room and this was about all we had time for to rehearse. One moment that would have been really improved by rehearsal and more thought from myself was as Aspen and Max fought over the Ipad. Looking back at the footage I really kicked myself, it was supposed to be the climax of the film and just felt lifeless. I needed to work out what that section was getting across, and communicate this to the actors. The problem was I didn’t know what this section was saying, how two grown adults suddenly begin squabbling over an Ipad, and I wasn’t sure how to build the tension in a fight that used such small movements on and Ipad that I couldn’t film because it wasn’t turned on! I realised the importance of fully understanding your script and the characters intentions.
I think as a group we also realised how crucial pre-production is. If I had had time to visit the venue a week before with my camera and some lighting, I could have planned out all the shots and saved so much more time, and managed to get second takes of all the shots. Unfortunately, this was not possible as it was used in working hours as a beauty clinic. It would have been a much less stressful experience and would have left more room for experimentation.
Though it was a rushed day, I think we really pulled together as a team. We met our deadline, and got every shot we needed done. It was a really amazing, super full on experience. I felt well supported and I’d really love to make another film with them all one day.
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Equipment Used
Cameras - GoPro,
Microphone -
Boom -
Lighting -
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BABY
1 INT. DOCTOR'S OFFICE - DAY
1
MAX (24) sits in front of a white desk. He is the client, and it is obvious in his youthful look. He's fidgeting with a pamphlet in his hands, much to ASPEN's dismay.
Aspen (24) sits next to Max, and is the polar opposite. She's calmly watching DR. ROWANDA ZELF, and has an aura of professionalism around her. Aspen has lilac skin and white hair, with small white diamond-like markings on her forehead where her hairline is.
Rowanda (46) sits behind the desk. She is wearing an all white suit and looks every bit like a real estate agent- she knows how to cater to her clients. She is holding a sheet of paper in front of her, occasionally humming and 'ah'ing. She tucks her blonde hair behind her ear, revealing it to be pointed and elf-like.
ROWANDA Okay. So, you're completely sure
this is your final decision on the baby's personality? You're sure you want her to be this introverted? Seventy five percent is a lot...
MAX Yes. We know that.
ROWANDA
Aspen?
ASPEN Yes. We do actually agree on some
things.
The group all chuckle quietly, an awkward tension mulling over them. Rowanda then pushes away from the desk and leaves through a back door, and Aspen and Max examine the room.
MAX I'm so excited, I can't wait to get
my hands on our baby.
Max takes Aspen's hand, running his thumb over her knuckles. Aspen smiles tightly and hums in insincere
agreement. Rowanda emerges from the door and smiles brightly at the two who are still sat in the chairs. She walks over to a door behind them and opens it.
ROWANDA This way, please.
2 INT. CUSTOMISATION GALLERY - DAY
2
The two follow Rowanda into a spacious white room. Across the left wall are three dimly lit tubes that contain 'pre- made' babies in them. Another one is empty. Aspen looks at them with some distaste, and Max like a kid in a candy shop, as Rowanda leads the couple across to the first tube, waving her hand out as she presents it.
ROWANDA We offer bespoke packages for pre-
made models, starting at five thousand onward. This is MODEL KROY: features include translucent wings, pointed ears and these beautiful markings.
Rowanda points to the baby, Max leans in for a closer look, nodding as they squint to see through the dark tube.
ROWANDA (CONT'D) It's known to most people as the
'Fairy'. Then, moving on, we have the 'MERMAID.'
Rowanda leads Max to the next tube on the left.
ROWANDA (CONT'D) Features include tail, gills, and more beautiful markings. The tail
only appears when submerged in water, so it can walk on land. Colourings vary from each model- where the fairy is more natural and earthy, people with the mermaid tend to have brighter, more vibrant colours.
2.
MAX What do you think, babe?
Aspen spins around from where she had been looking at the fairy baby inside the tube.
ASPEN I'm sorry, what? Oh. I think we're
fine with the package we're on now.
Rowanda nods and leads them to the tube at the end of the room, where a tablet is attached to it. She presses it so it lights up and the customisation page appears.
ROWANDA Okay, so the customisation part is
quite easy. First you need to select the sex; there are over two hundred, so take your pick. Then, with the package that you have chosen by default, you can chose the hair colour, eye colour and skin colour.
As she speaks, her hand glides across the tablet, as if turning pages.
ROWANDA (CONT'D) But, since you're not having any
other packages, you are still able to add magnificent features such as wings...
Aspen walks over to the tablet, peering over Max's and Rowanda's shoulders.
ROWANDA (CONT'D) ...markings or a tail. These do
cost more than what would be offered in the packages, but I trust you understand that. Prices will show up as you choose each option. Okay? Shout me when you're done and we'll advance to the next stage.
3.
Max nods enthusiastically. Rowanda smiles politely and leaves the room without another word. Max immediately dives to the tablet.
MAX Angel wings! A dragons tail, Aspen!
Look at all these features! How many eyes do you think are too many? Three? Four? What colour skin? Lilac like yours?
ASPEN (shouting)
Max, stop that! You're making it ugly!
Aspen, disgusted by Max's choices, pushes him out of the way so she can have a go.
ASPEN Porcelain skin, two eyes, no tails
or wings. Two arms and two legs. Oh, look at the variation of eye colours! Forest green or pine?
MAX Whats the difference?
Max peers over her shoulder and groans loudly.
MAX(CONT'D) Oh, loosen up a little! We can make
whatever we want and you're making it boring!
ASPEN It's not boring it's beautiful!
Max squeezes in and the two begin rapidly scrolling back and forth through the options at the same time, changing the designs. The tube lights up with a different colour every time there has been a change in design. The screen soon freezes, not allowing any changes to happen and a warning sign pops up. A warning light above the tube starts flashing red. Aspen gasps and takes a step back, scared.
4.
MAX (shouting)
Look what you did! Max hits the tablet, trying to get it to work again.
3 INT. DOCTOR'S OFFICE - DAY
3
Rowanda hears the shouting and presses her ear against the door, a crafty smile on her lips. She takes a sip from her mug.
ASPEN(V.O) (loudly)
What I did? You broke the machine! 4 INT. CUSTOMISATION GALLERY - DAY
ASPEN(CONT'D) Your stupid excitement did this!
Why can't you just want a normal baby?
MAX Normal? What is normal in this
world, Aspen? Aspen sighs and covers her face with her hands.
ASPEN Like you, Max. I wanted the baby to
be like you.
MAX But I wanted the baby to be like
you! You and your beautiful, different self. Why would you want one like me?
ASPEN You just want our baby to be
different. Our baby looking natural like you would be different - to me. You don't realise how you look through my eyes. Why do you think I chose you out of everyone out there
(MORE)
4
5.
ASPEN (CONT'D) - all those others with wings and
tails and third eyes? Because you're beautiful.
MAX Really?
ASPEN Yes, really. I can't think of
anything better than having a child that looks like you.
Max crosses the room to Aspen, hugging her tightly.
MAX I'm sorry I got over excited. I
should've listened to you and what you want. I'm a bad husband. I love you. We can have what you want.
The door opens, and Rowanda pops her head in with a sly smile.
ROWANDA I have a solution. For an extra two
thousand...
5 INT. CORRIDOR - DAY
Max and Aspen walk down a bland corridor, out of Rowanda's office with a baby in each arm. Both are happy, holding hands with their spare. Max raises his baby to his chest.
MAX Look, he matches my shirt!
Aspen pulls up a small, receipt-like piece of paper from her baby.
CUT TO
5
6.
ASPEN Gauranteed to be walking in nine
months or a fifty percent off voucher for our next...
CUT TO BLACK.
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TIME MANAGEMENT TOP TIPS
Time is money, when filming you are paying for actors, crew members, and a venues time. It is always best to make the most of this.
Pre production - Plan your time, know what is happening when shot-wise, set-up-wise, break-wise, and anything that needs to be ready before filming. This will help decrease stress on the day and confirms that there will be enough time do get things done.
Be realistic - Make sure your plan is achievable.
Prioritising- Relative to your job, isolate tasks that are most important within your role.
As a director, I should plot out which shots are essential and which can be extra.
Don't allow phones and distractions on set! Everyones focus is necessary.
Have a list and follow it.
Post production - Give yourself an unending of time when editing its takes ages.
Most importantly ALWAYS ARRIVE ON TIME.
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HEALTH AND SAFETY ON SET
Process
Identify hazards
Evaluate risks
Identify measures to control risks
Key hazards on set & Risk
We could trip on loose cables from the camera’s and lighting. This will be extra-hazardous on the second day as we were filming a darker scene and there will be lower visibility - High risk
Hot lighting - Medium risk
Bright lighting - Medium risk
Glass domes that were used on the second day, balanced on podiums and unstable. If they smashed, the glass could easily cut someone. - High risk
Steps to minimise hazards
Tape down / cover all loose cables
We used electric lighting instead
Lighting technician warns rest of crew when turning lights on
Have domes on podiums for minimal lengths of time, with everyone aware they are unstable
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Working culture of the inustry
All the roles to create a film are importance as the all play a part in creating the whole.
A skeleton crew, the essential for making a budget film are:
Director, producer, DOP, sound technician and a production designer.
Important Roles
The most important role, or the role with most power is the executive producer, as they hold the money. This allows them a final say on everything, since the others are being paid by them.
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SPIDER
Spider, directed by and starring stunt man Nash Edgerton, is a tense black comedy, close to a thriller. It follows a couple’s car journey, after an off-screen argument. The first shot is a black screen with the simple quote It’s all fun and games until someone looses an eye’ – Mum, prepping the audience for the oncoming disaster.
There are in-car shots, creating an intimate, inescapable space, emphasizing the couples and audiences feeling of tension. Jill is giving Jack the cold shoulder, whilst Jack is desperate to get a smile from her. Yes, Nash Edgerton took his characters names straight from the nursery rhyme. The performances are naturalistic and minimalistic, it is effective in drawing the audience in, their delivery forces you to really listen.
The beginning feels drawn out; the camera lingers, we feel Jacks frustration as the shopkeepers painfully slowly count out change, as Jill slowly fills up with petrol, and slowly seems to forgive him. The audience is waiting, willing something to happen; on edge knowing something bad is on its way. It’s not the monster jumping out of the cupboard that scares us, it’s the thought that he one day will.
Spider has a steady flux of tension, constantly changing and resolving issues in every section. It feels as if Edgerton has just played the game ‘fortunately, unfortunately’, then written down his result. It really works. He makes the audience feel safe then unsafe, time after time, which allows the not quite end to feel as if it’s the end, giving the ending the final punch, which makes it so special. The audience are continually lead to believe, then continually deceived. That’s what makes a good thriller, making the audience jump time after time.
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STORY BOARDING
I never realised what a slow process story boarding is!
I started with fragmented sections of scenes then moved on to blocking out shots.
Blocking out the second scene was difficult because the actors moved so much around the room, so the obvious first step was blocking out the actors movement. Which was also hard because we hadn't had a time with all the actors together to rehearse this section. Also I hadn't visited the venue due to time restraints.
I then colour coded and numbered shots, separating close ups, room shots and character shots, and also outlining which ones were essential so making the shot list would be easier.
I enjoyed story boarding, it helped me visualise the script and explore logically where to place cameras and actors. I just didn’t realise the amount of effort and time needed to block out a script!
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PRE PRODUCTION - WORKING AS DIRECTOR
-I started by asking the writer lots of questions about the script, and the world it was set in. -I made little designs of what I thought could be posters used for the business. This gave me an idea of the kind of work they do and how it affects the world its in, then talked to the rest of the crew to see if they saw the film in the same kind of world. I thought it was really important to have a shared vision for the film. In Sam Michaud’s session on directing we learnt that to be a good director you have to stick to your vision and I thought the best way of doing this would be to have everyone on the same page.
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KYNODONTAS (DOGTOOTH)
Kynodontas begins by showing a family, two daughters and one son, gathered around a tape player. They are learning new words. ‘Motorway’ - a very light breeze."Excursion" - a hard material used for making floors. They listen to Frank Sinatra as the father translates the meaning from English to Greek. It is a song of family togetherness. The children fear the man-eating stray cats that occasionally meander through the garden, and the planes in the sky are the same as the toys they play with in their rooms, just a little out of reach.
The father, a strict unsmiling man, is the only one who ever leaves the home, the mother stays a seemingly voluntary housebound-housewife and the children, infant-ised and trained like dogs, are completely unaware of their entrapment. Through the complete obedience of the children, and their utter ignorance of the outside world, director Lanthimos presents the power adults have the over the young. It allows the audience to reflect on their own ideas of the world around them, where they really originated, and whether those ideas are set in truth.
The untouched, garden of eden of their home soon begins to rot after the father makes the decision to bring in Christina, his assistant from work, to satisfy his son’s growing sexual needs. In exchange for sexual favours, she comes with gifts of VHS’s of Jaws and Rocky, that infiltrate the children’s closed outlook on life. Through Aggeliki Papoulia’s brilliant performance during a dance show she presents to her parents, you see how the growing exposure to the outside world is affecting her, you see her pain and her longing for freedom through interpretive dance. It’s funny, but at the same time painful and awkward to watch.
In a twisted way it’s a coming of age film, about breaking out from authoritarian grasp, and forming your own view on life. Whilst feeling alien and unreal, the film does reach out to certain truths, the family rituals and conflicts feel unnervingly familiar. Nestled in the film’s darkness, and growing sense of unease and uncomfortableness, is a lot of humour. This is what makes it bearable to watch, but once you start watching, you’ll find it difficult to look away.
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