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So, I've read through your transformation plan and I understand that you want more scripted comedies?

You guys wanna commission our film? C’mon...

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Stoke Mates ‘N’ Oatcakes  finally finished! #stoke - on - trent 1080p

#stoke #comedy #mockumentary #nuns ˙#HarryStyles #1D #colonel

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Music video by J. Cole feat. Amber Coffman & Cults performing She Knows. (C) 2014 Roc Nation LLC

Its refreshing to see a hip-hop music video without pimps and hoes. its not everyday that a music video elicits a physical response from me, the video has over 700 thousand views, most of which are probably from myself wearing out the refresh button, yet every time I watch the video I find myself covered in goosebumps and reduced to tears. This music video demonstrates, perhaps what I love most about film which is its  ability covey perspective in order to elicit a powerful emotional response that is a product of the viewers interpretation. Director Sam Pilling demonstrates the beauty of sound and vision working in symbiosis to generate a deeper meaning. 

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Sienna Miller in George Hickenlooper’s Factory Girl (2006)

Andy Warhol’s Eddie Sedgwick must have a truck load of analytical essays to do too.  

Don’t worry girl, you can do it. 

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Today has been an exciting day, I sat with our graphic designer to work on the finishing touches of the cover, spine and back of our DVD cover art. 

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NARRATION

Due to unforeseen circumstances I’m now the ‘voice of god’ in ‘Stoke Mates ‘n’ Oatcakes’, my voice isn’t sounding too great at the moment. 

I have a job for you Morgan Freeman, are you free? 

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Having some fun finishing up editing, colour correcting, adjusting exposure levels and overlaying music! Nice to see healthy levels on most of the shots with little to fix! FEW!

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The talent on shoot day 4 of Stoke Mates ‘n’ Oatcakes 

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Behind the scenes picture of shoot day 6: Inside day shoot filming Sister Mary’s interview 

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Location

As setting is one of the primary factors driving the narrative it is important for Jack and I to find the right locations that represent Stoke-on-Trent accurately, particularly for our establishing shots. We’ve had a pretty productive week location scouting and have decided on the following locations for our film

 Chatterley Whitfield Tip

Establishing Location Shot

One of Stoke-on-Trent’s oldest mining sites, now for all intents and purposes abandoned. The derelict aesthetic corroborates with the narration and provides a point of reference for audiences the building aptly reflects the town’s rich history. Architecturally the structure is a testament to an age now passed.

 Stoke - On - Trent Canal

Establishing Location Shot

The Stoke-on-Trent canal offers iconography unique to Stoke-on-Trent, the kiln in is of course symbolic of the towns once thriving pottery industry  and will feature on our cover art.

 Middleport Pottery

Establishing Location Shot

Much like Chatterley Whitfield Tip, Middleport Pottery reflects Stoke-on-Trent’s history, with its sign still intact and clearly visible in the frame audiences situated outside of Stoke-on-Trent are not displaced as the function and purpose of the building is made clear

 Westport Lake

Establishing Location Shot

This location was chosen for its picturesque quality, it shows an idyllic natural landscape contrasting with other locations this offers a more visually dynamic aesthetic and provides a diverse portrayal of Stoke-on-Trent

 Brownhills Fields

Colonel Interview

This location was chosen for more practical reasons. The shrubbery provides a physical barrier from the urban landscape surrounding the fields. This enabled us to record dialogue without undesired ambient sound. The field is also relatively secluded; this enabled us to film without pedestrian interference and prevented the dog from being distracted by the public.

 Fegg Hayes

Nuns Bungalow

Situated in a residential area with an aging population we agreed this humble bungalow would reflect the modest lives Sister Mary and Sister Sledge lead due to their religious ideologies. As we were not granted permission to film at the local church, our script was modified to include this new setting.

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Inspired by the effective sound design in I Remember (2010) Jack and I took to the student space and further developed the sound in our film. We worked to create different music for each character that compliments their individual personas. In order to create a seamlessly uniform sound, the different melodies are however in keeping with the Stoke Mate ‘n’ Oatcakes original theme tune introduced in the opening sequence. 

We did however get a little distracted and I managed to get Jack to play an instrumental version of Lana Del Ray’s Young and Beautiful 

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Filmmaking is incredible introspective. It forces you to sort of examine yourself in new ways."

Drew Goddard

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I Remember (2010) music composer Jason Bradley Livesay shows his range, by moving from traditional instrumental sound to bassier more dramatic sound that compliments the actors performance in the show reel. 

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I REMEMBER (2010)

Shot on a Canon 7D Vimal, David O’Connells I Remember reveals the memories of an elderly man as he reminisces after the death of his late wife. Although aesthetically the film is stunning, it’s the use of sound that provides a transcendental experience. The score, in its whimsicality reminds me of the works of Debussy, particularly Claire de Lune [see below] and prompts the listener to think of the man’s wife in the same fond way the character does. The music is a direct reflection of the man’s memories of his wife, which too are, delicate, tender and beautiful.

Jason Bradley Livesay and Alex Khaskin exceptional sound design is inspiring and demonstrates that cinema is not only an ocular medium but also an aural one.

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Character Inspirations

Australian writer, actor, director and producer Chris Lilley has had a seminal influence on Stoke Mates ‘n’ Oatcakes. His performance as passive aggressive, egotistical  drama teacher Mr.G was in my opinion stella. He provided a convincing portrayal of an archetypical high school drama teacher in his ability to mimic the subtle mannerisms, facial expressions and vocal cadences of the character trope without compromising his ability to fulfil a variety of production roles. 

Mr. G’s pomposity laced with bitchiness and quick temper is similar to Sister Sledge’s disposition. 

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Sister Sledge, I found your kindred spirit.