Wednesday, 27 February 2013

Short Story Beginnings

For our final piece this term we have to develop a 10 to 15 minute short film in script form. We can really go right ahead and make whatever we want because we don't need to produce it, unless I'd really really like to. So here are some early notes.

I think I'm going to stick to what I know best and feel most comfortable writing so I'm going to write a sci-fi screen play, below are some bullet points about the story and characters for me to work with at a latter date.
  • Characters - mum, dad, 2 male children & medical nurse. 
  • Setting - Near future, the world now has strict birth control laws, each family can only have 2 children at a given time. The children need pass each year at school above a certain grade, failure to do so will result in them being taken away, the public are unaware of the children's destination but they are most likely sent to slave camps where they work manual labour. Its a way for the governments of the 1st world countries to eradicate less able thinkers.
  • Event - A boy is on the verge of failing his final year in infant school and his mother does her best to protect him from whats about to happen. 
THE PREMISE - In a world of strict birth control laws a mother has to protect her youngest son from being dragged away and thrown into slave labour for failing his end of year exam at school.

Some other things to look at -
  • Eugenics
  • China & their population
  • Perhaps incorporate CELLi into the story.
Look for small moments in the story, these small moments will build up the larger picture and give a much more detailed narrative.

NOTES - I think I'd like to set the film in Spain, a rural town along the coast similar to where I've grown up. It will add a different perspective on things and will allow me to create slightly different characters.

The mother - she's your traditional Spanish mother, very family orientated, she takes great pride in looking after the house and her two sons while her husbands at work. Her relationship with her husband has soured as her son has started failing at school and her husband has started distancing himself from the child.

The dad - He's very focused on work, prides himself on being the bread winner. Ultimately he is a coward because he's so frightened of loosing his son he has started distancing himself from him so when the day comes for his son to be taken away it will be easier to handle emotionally.   

Tuesday, 26 February 2013

Documentary/Fictional Films

Before I began working on my documentary I never really thought about the similarities between fictional film making and documentary but realizing just how similar the two are has given me a whole new perspective on story and characters. As a writer before anything else this sudden realization that documentary film making is about weaving a narrative tapestry using real people to tell your story has not only given me a stronger desire to work on documentaries but given me a point of view that will help me create believable characters for the stories I'm likely to write in the near future.

I think most of the documentaries I enjoy are about people and when it comes to fictional films my biggest interest is characters. Even when I write sci-fi with all this incredible technology I want to write interesting, human characters and documentary film making and the process that goes into has helped me a great deal by changing my own thought process. I cant wait to get cracking on my short film for BA1 Story.  

Vignette

While working on our documentary this term we will also be working on a vignette, basically this will be a fictional portrait of a real person. The exercise will give us a good understanding of how to write deep, interesting and believable characters in future film.

My team will be looking into mental health issues and we hope that by interviewing and getting a good insight into that particular area we will develop a story that we can then use for our vignette.

Here's where we're at right now -

In our assignment we are going to be looking at the mental health spectrum as a whole, from schizophrenia, to obsessive compulsive disorder and Multiple Personality disorder and depression. For our research we are going to look into how these conditions affect every day life, and what are the courses of the conditions. To show this we are going to interview various people with different types of Mental Health issues as well as doctors and carers to help better understand the condition and what they go through.

The story that we will create from the interviews will be based around one person who is being interviewed. This interviewee will appear to have multiple personality disorder and will talk from each person's perspective from the footage of the documentary that we will be shooting. The actor will mime the voice over's as if he is talking, and we will create a film that hopes to challenge the way in which people view mental health. 

Werner Herzog - Into The Abyss, Interview Techniques

Now that I've started doing a lot of work into documentary film making I've been introduced on many occasions to Werner Herzog. A famous German film maker renowned for his documentary work and his ability to bring out incredibly emotional responses from his interviewees.

In our directing class today we were discussing how Herzog brings out these emotional responses and what he seems to do, while interviewing, is avoid the generic question/answer formula of a standard interview. Instead he asks the interviewee to recite stories, or moments in their lives, this allows that person to naturally tap into their subconscious, avoid a rehearsed answer and sometimes brings out a more honest and emotional response.

The opening interview from 'Into The Abyss' was really cool and it just goes to show that there is an art to interviewing. I'll try and have a look at more of his films before I begin filming my own documentary.      

Book Review

Mark asked to do a short book review about a cinematography book, here's mine -

Cinematic Storytelling.

This book is not just your average nuts and bolts guide to composition, shot sizes and camera movements the book displays in detail the uses of each of these elements of cinematography. Each description is also complemented by script captions and an example of why the shot/movement has been chosen and what effect it brings to the film as a whole. Its one of those books that you want at your side while story boarding so I'd recommend buying to anyone who wants to make films.    

Saturday, 23 February 2013

Captain Daedalus

In our story lecture we were given a short prose version of a story and what we needed to do was break it down into scenes, I decided to write it as a script as I felt it would be more beneficial for me. So here it is -

EXT - CONFEDERATE CAMP - NIGHT

It is late, the air smells of hot iron and gun powder. Small campfires lie dotted around the camp with heaps of men surrounding them enjoying the cool night, telling stories and whoring with the native slaves.

A group of Confederate soldiers enter the camp bearing captives from the evening raids. Some are kicking and screaming, wrestling with their bound hands. With them is Captain Daedalus, a union captain, a brute of a man tamed by severe beatings. His face is peppered with bruises and blood lies in his wake.

The Confederate soldiers march the captives to a series of wooden cages and one by one they stripped of their clothes and tossed into their pen like captured wild boar, but Daedalus is kept in line. The Confederate captain signals to his men that Daedalus is perhaps a more valuable prisoner, so he is spared and taken to an old house sitting in the heart of the camp.     

INT - OLD HOUSE ATTIC - NIGHT

Daedalus is stripped of his regiments colors and thrown into a dusty box of a room placed on the top floor of a rickety old farmers home now turned into shelter for enemy soldiers.

His captives untie his hands while a soldier at the door trains his gun at Daedalus's head. Daedalus resits the urge to fight, his body feels broken and his will is diminishing.

The soldiers leave, locking the door behind them. Daedalus collapses to the floor, dust kicks up into his face - he sneezes and blood sprays across the wooden floorboards. Exhaustion gets the better of him and he falls asleep.

INT - OLD HOUSE ATTIC - DAY

The sound of rifle fire snaps Daedalus our of his sleep. The hard noise cuts deep into his aching head.

Above him there is a window, he gets to his feet and presses his nose against the glass. From so high up he can see the whole western side of the camp, so many troops, all gathering their strength to attack Daedalus's stronghold to the north. His army is unprepared and would not survive against this impending onslaught.

Suddenly the scent of escape arouses Daedalus's senses. He quickly opens the fragile window only to see rusty metal bars halting his progress.

A rotten mattress lies in the corner of the attic, old springs poke through the papery material. Daedalus grabs the mattress and tears it apart, collecting the metal coils from within. He begins to loosen the bolts and screws that hold the metal bars together, his fingers become bloodied and swollen as the rust cut into his skin but with time the bars fall free.

He collects the bits of bedding that lie strewn about the attic and binds them together to make a rope of sorts. All he can do now is wait for nightfall and let the shade of twilight cover his escape.

INT - OLD HOUSE ATTIC - NIGHT

The little camp fires begin to light around the base once more as Daedalus prepares his escape. The hazy consciousness that he feels cannot prevent him from moving with purpose and strength. All is ready, its time for him to run.

The wooden attic door begins to rattle as iron keys unlock it. Two soldiers come storming in, at first Daedalus is sure they are coming for him but quickly he sees a young soldier, a Confederate, being dragged behind them.

The young Confederate is thrown to his knees and kicked in the side of the head. He lies motionless as he and Daedalus are left alone, the old attic door slams shut.

Slowly the Confederate stands, gives Daedalus a look of pity then straightens his uniform trying to impose a sense of authority between them. Daedalus fights the urge to kill the man and make his escape but somehow feels sorry for the Confederate. He will likely be shot in the morning, it's much easier to die by gun fire than by the hands of an angry, beaten soldier.

Daedalus must now wait until the young man falls asleep before he can attempt to make his escape again.  

INT - OLD HOUSE ATTIC - NIGHT

Daedalus quickly scrambles around the room preparing to make his escape, he ties the bedding to the leg of a heavy dresser then throws the rest out the open window. Hunger and thirst etch away at his strength but he senses freedom.

A noise dampens Daedalus's spirits. The young Confederate is standing, watching Daedalus's every move. The two stare at each other with unblinking eyes, each hesitating to make a move.

The Confederate fails to hold his bluff, Daedalus sees the twinkle of tears in the boys eyes. Here is a boy frightened of facing death. Daedalus's guesses the boy has never once killed a man, nor even shot at a living target. Daedalus's swiftly continues preparing his escape.

Daedalus's is just about through the window when the boy begins to follow, Daedalus has no desire for company but there is little he can do. They climb through the window together.

EXT - CONFEDERATE CAMP - NIGHT

Daedalus and the boy quickly climb down the makeshift rope. Daedalus is the first to reach the floor, he ducks and scans the area for enemy troops, the coast is clear. He turns and signals for the boy to hurry but the young Confederate fumbles and appears undecided on whether he will continue to climb down.

Daedalus hisses at the boy gesturing him to make haste. The boy looks down to the floor and then his eyes set on Daedalus. Daedalus sees the eyes of a coward and knows that the boy is not worth the risk, Daedalus must warn his army and this boy cannot be aloud to jeopardize this.

Daedalus sees a clear path and begins to sprint to the edges of the camp and then disappears into the woods. If he was to glance back he would see the young boy still clinging to the rope.  

Cinematography Exercise

In our first cinematography class we were told to go out and film 30 seconds of hand held footage, I made two as I wasn't particularly happy with my first attempt.



The problem with this is that I'm not really moving the camera so in this situation it will be best to use a tripod.



The reason why the frame looks so shaky is because I'm using a longer lens and the subject I'm filming is completely still. In this situation I guess you'd best use things like a steady cam or something to help support the camera as I move with it.

Writing The Short Film

When in the early stages of writing a short film here are some pointers to take into consideration -
  • Write a short prose version first so you have all the information, plot beats and characters worked out before you start writing the script.
  • The story must always move forward in each scene. 
  • Always think of the turning points, large and small.
  • Always think of the imagery, possible character monologues, location descriptions. 
  • Write a scene by scene breakdown so you know what each scene is about.
  • Remember a new scene is when the story moves to a new place and/or time. 

When presenting a character here are some things to think about -
  • Think of visual information that the audience can understand about the character - The first things we see about the character immediately builds an understanding of that character. Always think of the tiny characteristics. 
  • When creating characters look for potential conflicts within themselves and with other characters.
  • Try to play with expectations.
  • Small, tiny spoken details may give insight into the character's past, future and present.     

Sunday, 17 February 2013

Putting A Story To A Picture

In our story lecture we were each given a random photo taken from a recent newspaper and we were told to write down a story for that particular picture. We were given about 10 mins to come up with something.

'This guy is out on the streets with his countrymen supporting Ghana at this years Africa Cup Of Nations. The story could document the tournament and this mans journey during that period of time. The tournament took place in South Africa so this guy has probably left his family to attend the competition. There are emotional elements to the story as it could be a tale of his love of football and his love for his family and the difficulties balancing the two'  

Role Distance

When it comes to documentary interviewees Dorothy Heathcote developed the Frame Distance theory that can be used as a mode of address in documentary interviews.
  • Participant - I am in the middle of the situation, experiencing it. It is happening to me now. 
  • Observer / Guide - I saw what happened. I can describe for you what I saw and enact the event for you, though I may or may not understand it. I was there.
  • Demonstrator - I re-enact so you can understand. 
  • Authority - I was involved in the event so I can tell you. 
  • Witness - I saw the event and can tell you about it. 
  • Researcher - I need to know of the event.
  • Critic - I interpret the event for you as an event. 
  • Artist - I transform the event. 
By learning and understanding each of these roles I can use this model to enhance any interviews within any documentary I'm working on