#Anatomy? Bih where

[turquoisetroubles]

GIVE 2D TUMMY KISSES

Oops... I always manage to get carried away~

[enter-design]

For my artist research i will talking about the designer Saul Bass. He a was an American graphic designer and filmmaker, his most active years were during 1954 and 1995. “He worked mostly for advertising until his first major break: a poster for the 1954 film, Carmen Jones” (poulwebb, 2012) Although his designs were mainly about film and posters, he also created film sequences and logo for a well-known mobile service. This first post, was one of his first Hollywood masterpiece. in this ‘Carmen Jones’ poster, Saul Bass used some edgy text in this design and I really like the colour he chose for this poster, they match really well I think the orange really compliments the brown and yellow. The movie is a musical and, in the poster, there are some faint musical notes in the back, this shows that Saul Bass understood the movie and made a poster design related to the movie. The smiley face and bright colours used set a happy mood.

Saul Bass main inspiration was his father who was worked with fur, his work amazed him, he mentioned talking about his father work “What he did that was quite extraordinary was draw flowers and birds. “He did decorative paper cut-outs too. He would take paper, fold it eight, ten, twelve times and then do his little thing with scissors. Then we’d have that grand moment where he unfolded the whole thing and it was just flowers and birds and trees, it was a whole world!” (Chiara et al., pg. 15 2017) Saul Bass would hand draw some sketches and parents would praise his work. Later Saul Bass discovered lettering and “Saul also wondered whether his passion for lettering and a desire to make art out of letters came from his father’s brother, a gravestone cutter who stayed in the old country” (Chiara et al., pg. 15 2017)

When movies were released in the past, they always showed a movie title, however in these titles there was no relation to the movie, what was included was names of actors, directors etc. It was boring, simple and had no emotion. Saul Bass saw this as an opportunity to create his own movie titles. In his movie title he would create little animations that was connected to the storyline. “Part of Saul Bass is genius was to understand what the movie was about and to do the designs for them appropriately” Youtube.com. (2010). it added more emotion to the movie and told a little about what the movie is about without telling too much. “when Saul bass started making prints the credits themselves were part of the film” Youtube.com. (2010). Saul Bass also created posters for the movies, he would try to understand the meaning of the movie then create a graphic illustration for this, he would try and sell the movie to his audience through his poster design. Smith, S. (2014).

The other three images I added are some examples of Saul Bass designs, majority of his designs included some silhouette and colourful backgrounds. Each of his designs tells a little bit about the movie without ruining the plot. The silhouette he used in his illustrations were a unique style this is because it isn’t a clean-cut silhouette like others out there. In this ‘Saint Joan’ poster I really like the background print the most it really stands out and bring the whole poster together. 

Saul Bass created his own typography and what I like most about his typographic on the posters is where he places them, for example in these posters I have selected, In the ‘anatomy of a murder’ poster I found it clever and creative how Saul Bass used a silhouette of a corpse and added the text on top of the silhouette instead of making it adding the text right at the bottom like most poster are. Even for his ‘Saint Joan’ poster the text is near to the middle and bottom and the silhouette in at the top. In these posters, Saul Bass poster includes a single geometric style illustration and text which delivers a strong message and keys into a mood. Saul Bass designs were more structured.

References 

Books

CHIARA, B., SILVIA, F., SOFIA, P. AND GIULIA, R. DesignVerso Saul Bass: through the looking glass Chiara, B., Silvia, F., Sofia, P. and Giulia, R. (2017). DesignVerso Saul Bass: through the looking glass. p.15.

Images 

<https://www.google.com/search?q=carmen+jones&safe=strict&rlz=1C5CHFA_enGB736GB736&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjp6Z2C25_sAhVKUBUIHR3MBw8Q_AUoAXoECC8QAw&biw=1097&bih=659#imgrc=6o2-9_jEPgmTtM> [Accessed 4 October 2020]. 

Google.com. 2020. [online] Available at: <https://www.google.com/search?q=SAINT+JOHN+SAUL+BASS&safe=strict&rlz=1C5CHFA_enGB736GB736&tbm=isch&source=iu&ictx=1&fir=JV0C4849dTqduM%252CzaVADXMwMZTODM%252C_&vet=1&usg=AI4_-kRT-kHIObZqn7x-uc70QlyekhB3HQ&sa=X&ved=2ahUKEwjC442u25_sAhXUuHEKHd-LBEEQ9QF6BAgOEEE#imgrc=JV0C4849dTqduM> [Accessed 6 October 2020].

Google.com. 2020. [online] Available at: <https://www.google.com/search?q=anatomy+of+murder+saul+bass&safe=strict&rlz=1C5CHFA_enGB736GB736&hl=en&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjj-vGA3J_sAhUnSBUIHcsWBxIQ_AUoAXoECBAQAw&biw=1097&bih=659#imgrc=UDBCLTDH7mHNuM> [Accessed 6 October 2020].

Google.com. 2020. [online] Available at: <https://www.google.com/search?q=vertigo+saul+bass+ORIIGNAL+&tbm=isch&ved=2ahUKEwicwp-N3J_sAhVKeRoKHUluBiEQ2-cCegQIABAA&oq=vertigo+saul+bass+ORIIGNAL+&gs_lcp=CgNpbWcQAzoCCAA6BggAEAgQHjoECAAQHlDKL1j0RGC2RmgAcAB4AIABQIgBsAWSAQIxMpgBAKABAaoBC2d3cy13aXotaW1nwAEB&sclient=img&ei=tUF8X9yTL8ryacncmYgC&bih=659&biw=1097&rlz=1C5CHFA_enGB736GB736&safe=strict#imgrc=MQ4V77Jwj9gYSM> [Accessed 6 October 2020].

Podcast

Smith, S. (2014). A Life in Film and Design. [podcast] 1: Saul Bass - Part 1. Available at: https://podtail.com/en/podcast/the-poster-boys/1-saul-bass-part-1/ [Accessed 07 Sept. 2020].

Video Youtube.com. (2010). YouTube. [online] Available at: https://www.youtube.com/watch?v=9jFpQMpsMiE [Accessed 06 Sept. 2020].

[cosmetologynerd]

Things Change (Peter Parker)

Permanent Tags:  @hollandroos @spider-bih @rileywrites-parker@loveislikeabook @petersmoonlight @karatyra @charlotteh10 @okaythor @caffeinated–writer @midtownsparker @ashleykh @thatcraxygirl15@bluenekox3 @everythingthatisrandom @nextkaratekid @brujaescarlota @underoosie @spiderling–parker @steelbarnes @khai-day-the-13th @babyykeexx

This one was requested by @tryn25 and I gotta say, hun, you hurt my heart with this one but I loved writing it; it is slightly different than the request, focused a little more on the angst side, but I hope you like it! 

OK so Peter and the reader are aged up; about 17-18, so I’m changing when Ben dies in Peter’s life. I knowwwww. Just go with it pleaseeee :) 

In which Peter and the reader have been dating for just over a year when Ben dies and all things change, for the worst or best, that is yet to be decided. 

Word Count: 2,539

Peter Parker was a happy person. He always had a smile on his face, his brown curls trying to grow out despite him constantly cutting his hair, his eyes alight with pure joy. His smile was one that you couldn't help but smile along with. It didn't matter what he was going; marching band, robotics, decathlon, or helping you with your math homework, laughing richly whenever you insisted that “Peter, I’m hopeless here!” He would plant a kiss on your forehead and show you that it was a simple solution. 

He was your best friend, your rock, your everything. 

You just didn't quite realize what that entailed yet. 

“Peter I really don't know why you insist on making me watch these videos, I can't learn anything from them.” 

He had pulled up a video on his laptop, a goofy grin on his face as he answered you. “[Y/N], if you would just watch the videos, you would see what I can't explain- I can only do so much.” 

“You’re the smartest guy I’ve ever met,” you grumbled, rolling over to look at the laptop screen Peter placed before you. His hand brushed yours, the same timid way it had for a few months now and you felt your stomach dip and swoop back up all at the same time. 

He laughed nervously, his fingers playing with the camera that seemed to always hang from his neck. “Come on, let’s get back to work,” he said, a small grin on his face. 

The boy was infectious, and you had been caught up in his world. He had been your best friend for years, always around. You remembered questioning how you had gotten so wrapped up in his life, so deeply engaged in everything that this boy, this wonderful boy, had to offer; but then he smiled and it became clear all over again. 

He made the world feel good. 

He made your darkest days feel brighter; the longest days feel shorter. He made you laugh when you wanted to cry. He made you happy on days you just felt like the world was crushing you down. 

He made life better.

“[Y/N], can I tell you something?” 

“What is it?” you replied to your best friend as he paced around his room, your eyes never leaving your computer screen. He had been antsy all day so you had come back to his small house after school, hoping it would help him relax. 

He plopped down on his bed and you looked over startled by the sudden jolt it had sent you. He was smiling. 

“I like you.” 

“W-what?” Your laptop was still blaring music from its speakers as you sat, staring at the boy before you. 

“I-I like you,” he spoke softly, looking at you with his doe brown eyes and you felt your heart flutter in a way that it never had before. 

“Don’t be ridiculous- I mean, Peter-” You had never hoped, never dared dream-

“Look,” he said, grabbing your hand and holding it tightly in his. “I know that this isn't normally how someone says they have feelings for the other- especially not when that person is their b-best friend. But... it was eating me up and...” 

He trailed off, hoping for you to respond, but you just continued to stare at him. 

“If I cross a line, stop me, okay?” 

He nervously lowered his head to yours, your lips inches apart. Your mind was still racing but now filled with one thought only: how badly you wanted his lips on yours. 

They fluttered over yours for a moment, barely touching, but still there. And then you pressed your lips to his and a fire lit inside you that you hadn't allowed to burn. Years of being friends, of denying you had feelings for him, all that seemed like so much wasted time now as his lips moved with yours softly, his hand cupping your cheek, trying to hold you closely. 

You had left shortly after, both of you smiling wide, Peter once again finding a way into your heart. 

He got his smile from his uncle. 

Ben Parker had a smile that could make anybody smile back, despite the mood they were in before talking to him. Ben only ever saw the good in the world, and you lied it. Your own family was never around, so when you and Peter had started dating and Ben Parker welcomed you into his little family, arms open and smiling big, you had decided that this was what a family was supposed to be. 

All accepting, no judgement, smiles and laughter. 

“May! Just take the picture.” Peter said, a hot blush rising to his cheeks and you laughed, amazed by your cute boyfriend. 

Today was the one year anniversary of you and Peter being a couple. It was one year of bliss, and joy and laughter and you couldn't wait for it to continue. Uncle Ben stood behind his wife, a grin on his face to match the one growing on Peter’s. 

The camera flashes and it’s only seconds later before Peter is pulling you out of the house, holding your hand in his, laughing the whole way you went, Ben’s voice yelling after you two to be safe. 

You two may have been young, you two may have been eager, but it didn't matter. Peter Parker was the reason you got up in the morning, the reason you had air in your lungs and the reason you smiled every day. It had been a year of soft kisses, fingers dancing softly together when studying, and pure bliss. 

You didn't know it then, but it was stolen time. 

He had ordered flowers to be delivered to the restaurant where you were to have your date, he pulled out your chair and made sure you were comfortable before sitting himself. 

Fingers danced together, heat growing between your delicate touches every second. 

Peter Parker was the light of your life, taking you on a roller coaster of a ride everyday, only going up. 

“I’m in love with you.” He spoke it every day, a matter of fact, never a hint of holding back, or timidness in his voice, which struck you as odd. Peter had always been shy, always held back, spoke with a soft stutter to his voice that made him so endearing to you. But the one thing Peter Parker knew more than anything was that he loved you and you were his and nothing could take him down from the high you gave him. 

A family as pure as the Parker’s deserved nothing but happiness. Unfortunately, that’s not what they got. The good ones never get what they deserve; they are always the ones who have to deal with pain. 

Of course that was never how it happened, families always had to deal with pain. Your families pain was nothing in comparison to what Peter’s family had already been through more than enough pain. You knew Peter’s parents were no longer around, but nobody knew what had happened to them, only that they had died. 

Losing two parents was more than enough pain for anybody. 

But the universe wasn't done ripping their family apart. 

It was the day that changed everything; the day that broke May Parker in two; the day that Peter Parker stopped smiling; the day that your family shattered. 

“Pete, you have to stop this,” you groaned when you heard your window open. “My parents don't care if-” but you stopped short when your eyes landed on your boyfriend of  

He fell into your room, through the fire escape as was normal when it was a late night. His appearance threw you off, his clothes were a mess, dirt and grime on almost every inch, something dark on his hands. 

Your feet moved themselves towards him, and he moved his brown eyes towards you, and then you noticed the same dark substance on his hands smeared on his face. “Peter what happened?” 

He shook his head, his brown eyes broken, empty as he opened and closed his mouth like a fish gasping in the air, desperate for water. Your hand closed on his as you pulled him to sit on your bed and the slickness of his hands made your heart fall. 

“Peter, please,” you begged, afraid to look at your hands, now intertwined with his. His brown eyes found yours and the words spilled from his lips before he could tell himself to stop, to piece together something more coherent for you.

“He-he had a g-g-gun- I- too late- killed-” He was struggling to talk and it hurt your heart. 

You pulled one of your hands from his, placing it on the side of his face and rubbing his cheek. It was then that your brain finally registered that the reason his hands were slick was because they were covered in blood. 

“Peter, slow down, breathe. It’s okay, shhh,” you coaxed, attempting to soothe him.  

“U-uncle Ben- h-he was killed- I- Its my fault- I” 

Your body slammed into his, embracing the trembling boy in your arms. Your heart was split in two as he told you, his cries ripping through your apartment. You heard a door open and quick footsteps to your room as Peter’s cries intensified and your mom came bursting in. She took one look from a sobbing Peter to you and her mind raced before she ran off, probably to call May. 

“Shhh, shh, it’s not your fault, Peter babe, shhh...” You had no idea what had happened, how it had happened, or why he thought it was his fault, but he was hurt, your smiling Peter Parker looked like he was never going to smile again. 

Three months later, Peter Parker walked down the hallowed halls of Midtown Science and Technology, camera clutched in hands that used to hold yours. He didn't even need to pay attention to what way he was going, his feet just carried him from one class to the next, tracing the same path he’d walked for years.

Fourth period gym. Fifth period advanced photography. Sixth period anatomy.

All three classes with you.

He hadn't hardly spoken to you after Ben’s funeral. He thought about the last day he was at your apartment nearly every second of every day. 

“We can't do this anymore. I’m sorry,” he spoke softly, holding your hand in his, begging you to see how much this was killing him. 

You were the one thing in Peter’s life that made him want to keep going, the only thing that kept a smile on his face. But he couldn't do it anymore; he couldn't keep going out, fighting like he was, gaining enemies and putting you in danger without you even knowing it. 

And he couldn't risk you dying either. 

Not like Ben had. 

“W-what? Peter- you-” you felt your heart shattering and Peter saw it on your face. He wanted to take it back, to put a smile back on your face, but he knew he was doing the right thing and seeing you safe. So he pushed through. 

“I just- look, [Y/N], there is a lot going on that you don’t understand.” 

“That I don't understand?” Your voice turned to ice and Peter gulped. 

“T-that didn't come out-” 

“No. Tell me! If I don't understand, then explain! Because I have always kept quiet, never asking you where all those cuts and bruises are coming from!” You were angry, irrationally yelling; but you knew this was coming. Both of you had known it; and now there was no avoiding it. 

“T-that has nothing to do with this,” Peter spoke, his vice wavering slightly, giving him away easily. 

“Then what is it, Parker? Huh?” Your cold voice and narrow eyes made him more nervous, making him hate himself even more for the lie he was about to tell you. 

“I don’t love you anymore, okay! I just- I just don’t.” 

He was snapped back to reality when he heard loud voices in the halls behind him, and he sighed. 

Steadying himself, Peter opened the door to room 461 and found your sparkling eyes looking right at him, your cheeks stained with tears. “Just what I needed,” you said bitterly, pushing past him and out of the door. 

He juggled his books and camera in his hands as you did so. He looked in the classroom to see Flash Thompson making a vulgar symbol after your retreating form.

Peter ignored everything in his body screaming at him to just go to class and followed after you quickly. “[Y/N], [Y/N], wait up!” Peter called after you and you paused only a moment to turn back and look at him. You scoffed at him and continued walking. 

He picked up his pace and soon found himself right beside you. You groaned and looked at him, his soft brown eyes full of concern. “What, Peter? You made it pretty clear that you didn't want anything to do with me.” 

He closed his eyes and threw his head back in frustration. “What did Flash say to you?”

“Why would I tell you, anyways?” You asked as you threw yourself onto a bench and Peter moved to sit next to you. 

“Please, [Y/N], I know you, I know you'll hold onto whatever it is if you don't talk about it. Just... I know I don't deserve to know after what I did; but please. Don’t hold it into yourself.” 

You sighed and rested your head back on the wall, eyes shut. “I’ll only tell you, if you answer one question for me after. Deal?” 

He nodded slowly, already knowing where this was going. “Flash is a vulgar asshat who thought it would be a great idea to spread the lie that we hooked up. And I was upset because I didn't want you to hear it and think it was true.” Your head now hung low, eyes on your white converse, the laces starting to come undone. 

Peter inhaled deeply, ready to take his newfound strength as Spider-Man and beat Flash to a pulp. “I know you would never,” Peter spoke softly. He took his chance and allowed his fingers to dance over yours softly, nervously like he did the first time over two years ago when he first realized he liked you; his subtle way of opening himself up to you. 

“Did you really fall out of love with me, Peter?” 

He exhaled at the question, knowing that it was what you would ask. He grabbed your hand in his, causing you to look up at him, surprise written all over your features. 

“I was scared- still am scared. But not for reasons you think- and no. I didn't fall out of love with you. I’ve never loved anybody but you.” 

Your lips drew themselves up lightly, the sparkle that had been missing from your eyes finally returned and you lightly punched Peter’s shoulder. “You have a lot to make up for, then, Parker,” you laughed lightly before standing up and walking towards the parking lot. “You coming or what?” 

[bradleyclarke94-blog]

Student Number: 12005756

CDME4001

Bradley Clarke

Critical Evaluation

Reference List, Appendix, and Bibliography.

Reference List:

Dick, B. (2010) Anatomy of Film. Basingstoke: Palsgrave Macmillan.

Stam, R. (2000) Film Theory An Introduction. Oxford: Blackwell Publishing.

Watson, G. (2004) The Cinema of Mike Leigh. London: Wallflower Press.

Appendix:

Appendix A.

The ‘Theory of the Spectator’ is the idea that stems from “response theory (Stanley Fish, Norman Holland) or reception theory (associated especially with the Constance School of Reception Aesthetics).” - (Stam 2000: p.230). It allowed for the viewer, or audience member to be referred to as a spectator who was now “seen as more active and critical, not the passive object of “interpellation” but rather at once constituting and constituted by the text.” - (Stam 2000: p.230). It’s the start of an actively aware audience, who searched for, or wanted something intellectually deeper than what was on offer.

Stam, R. (2000) Film Theory An Introduction. Oxford: Blackwell Publishing.

Appendix B.

Pre Production Plan:

A SCRIPT (REHEARSED SECTION):

As of yet I’ve yet to really begin writing my script for “Ben and John aren’t Dead” which is a working title at the moment, my reasoning for not writing the script as of yet is due to the fact that there’s a need for the dialogue in the film to mostly be a direct response to the goings-on of the world, and I’m personally waiting as it’s gets ever closer to the upcoming General Election, as this will represent a core amount of the dialogue of this film.

A LIST OF BASIS IDEAS (IMPROVISED SECTION):

The ideas for the improvised section of this project will be devised by myself and my actors, however I will set the core sections of discussion to begin with, should my actors feel compelled to change the course of the conversation I would be fine with that as long as it remains engaging.

The core areas of discussion will remain in relevancy to the current goings on of the world, I want this project to be relevant, and to be able to voice an opinion of a period in time, not a collective opinion, just myself and my actors.

The improvised sections will all take place on the stage, the subjects at this moment will consist of;

British Politics, the lack of transparency, and the lack of trust that the public hold for the government.

The ongoing mess that is “Brexit”, and it’s damage to the people of this country, the difference of opinion that could be seen as racist, xenophobic, and cruel.

The possible colonisation of Mars in the next 10 years.

The proposed sugar tax ban, and subsequently Labour’s plan to ban adverts for junk food till after the watershed.

As you can tell, the conversation will be varied, and will remain so with constant updating to my proposed script. Evidently the script will be heavily influenced by the result of the upcoming general election.

A REHEARSAL PLAN (REHEARSED SECTION):

My initial plan for the rehearsals will be to split the 7-8 minutes of scripted dialogue into 3 or 4 rehearsals, wherein I will book out a room at the university and run through the sections of dialogue several times, not over and over again to the point where the dialogue sounds over-rehearsed.

Eventually I will move the rehearsals into the area we’ll be filming, and initially I will just walk through the scene, as to ensure my actors know exactly where they will have to be, this will be due to the fact that I will have to rehearse my movement for filming with the camera. We’ll be in cramped hallways, therefore we need to ensure everyone knows where they have to be.

In total I am aware there’s a worry that over-rehearsing could happen, and I’m determined to keep the performances fresh, and so that it doesn’t become an automated movement for my actors.

A REHEARSAL PLAN (IMPROVISED SECTION):

For my rehearsals for the improvisation sections, I intend to have around 3 or 4 rehearsals again, the first one will be mostly consistent of improvisation techniques to make my actors comfortable, we then will work a significant amount on character work. I need my actors to fully embrace, and understand the intricacies of their character, and this can only come from spending time to learn who their character is.

In terms of rehearsing the improvised section, this isn’t something I’ll do extensively, these rehearsals will not be preparing anything in particular to use in the film, these are a means to make my actors comfortable enough that they feel competent enough to perform via improvisation, this will come from using various exercises, and just running with scenes of improvisation, such as if I give them the impetus to have a conversation with, whatever comes out of that will be a result of their character work, and improvisational skill.

SET DESIGN AND IDEAS:

The set will be relatively minimalistic, this isn’t the full set of the play in the realm of the film, this is the rehearsal space, so elements of the full set will be there, this is partially so that budgetary requirements don’t ruin the ideas and basis of this film, it also gives the film more room should there be a reshoot in the future, or if it became a stage play entirely.

The set will be very minimalistic, it’s supposed to be a rehearsal space, therefore there wouldn’t be a huge set or backdrop in the background, there will be the basics of a rehearsal space.

Consisting of;

A single table. (Think the ones that are in every University room.)

Two chairs, or possibly bar stools, I want my actors to retain a good posture as to ensure they’re always completely visible in the shot, and the difference of levels will look nice, and interesting. https://www.google.co.uk/search?q=university+of+worcester+chair&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj_x53xg-rTAhWHK8AKHTZoC4QQ_AUIBygC&biw=1163&bih=1120#tbm=isch&q=wooden+bar+stool&imgrc=nQnTC8Q7-A1zNM:

https://www.google.co.uk/search?q=university+of+worcester+chair&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj_x53xg-rTAhWHK8AKHTZoC4QQ_AUIBygC&biw=1163&bih=1120#tbm=isch&q=table+used+at+university+of+worcester&imgrc=_cD29p2QbYT6IM:

Or possibly I may use the white chairs from the University of Worcester canteen.

One chair/stool will be placed next to the table, the other will be on the other side of the stage.

The set will not be consistent of anything else major, however this is all subject to change. I will also be using the lighting rig in the Video Studio in the Digital Arts Centre, this will allow the scenes on the stage to go under significant colour changes, to represent mood or feeling of the scene.

COSTUME DESIGN AND IDEAS:

The costume that will be used will be relatively casual costume, due to the fact that this is supposed to be a rehearsal (in the film0. Therefore a decision will be made as to whether the actors choose to wear all black, as is sometimes customary within Drama, or they choose to wear whatever clothes they feel comfortable in. This will be a case of the actors telling me what they feel their character would wear.

A PROPOSED BUDGET:

The budget of this film has been set quite limited from the initiation of this project, I’m well aware of my lack of budget entirely and have made appropriate adjustments to ensure the professionalism of this project.

My lack of budget will be covered on my own end, this is a necessity realistically at the beginning stage of filmmaking. Not many early productions will be funded even slightly so this is just something that will be dealt with.

The costume will not be hugely expensive, as this film takes place in the rehearsal stage, therefore the actors would not be in full costume.

AN EQUIPTMENT LIST:

My list of equipment will be for the scripted section is;

A Canon C100,

32GB SD card,

NTG-2 Condenser Microphone,

20mm Lens,

C100 Battery,

0.5 XLR Male to Female connection lead.

For the improvised section it will be;

Three camera setup in the Video Studio,

Lighting rig.

PROPOSED LIST OF NECESSARY CREW MEMBERS:

As usual I intend to work with a small cast, (two actors in significant speaking roles, one who’s an extra/minor role), and usually I don’t have a crew, this is due to the nature of the films I make, and the style of filmmaking I use is very personal, and usually relies on one camera.

Therefore for the scripted section that takes place “backstage” I will be the sole crew member, as I don’t want the area to be crowded, it will be only myself, and my two actors.

However the improvised section, which will be taking place in the Video Studio in the Digital Arts Centre, for this section I will need possibly one or two external crew members. One crew member will man the lighting desk, should there need to be a colour change within the scene, the other crew member will help me run the three camera multiple-camera setup.

These crew member will probably have to be fellow students of mine, who would undergo whatever necessary training is needed to run the tech within this room.

The need for the external crew members is solely due to my own desire to make this film as professional as possible.

IDEAS FOR THE FUTURE OF THE FILM (FESTIVALS, ONLINE PLACEMENT):

As with all of my projects the goal is to enter them into film festivals, these are competitions wherein the best film of a category will sometimes receive an award, but all in all it’s a fantastic way to get your work out there and to have people of importance within the world of film to see your work.

Some of the festivals that I intend to enter will be;

Encounters Film Festival - 19th to 24th September 2017.

http://encounters-festival.org.uk/submit-your-film/

Norwich Film Festival - November 2017.

http://www.norwichfilmfestival.co.uk/

Bath Film Festival - 2nd to 12th November 2017.

https://www.bathfilmfestival.org.uk/

The film will be placed online, at YouTube, and possibly Vimeo, this is due to my want to have my work on as may different online destinations as possible.

Bibliography:

Fuller, G. (1998) Loach on Loach. London: Faber and Faber Limited.

Raphael, A. (2008) Mike Leigh on Mike Leigh. London: Faber and Faber Limited.

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