production diary – Otis Morley’s A-Level Film Studies Blog

Production Diary: Reshooting and alterations

On October 2nd, I decided to reshoot and alter some scenes of my film in order to alleviate a few issues, namely: some grainy footage, resolve some continuity errors, and to change the ending of the film entirely. This proved to be very successful, with each issue successfully being resolved.

Firstly, I decided to refilm the originally grainy shot from a slightly different angle and using a different lens, ultimately resulting in better quality footage.

Some lines and plot details were also slightly altered, such as the cafe dialogue, alongside the Hooded Figure instead donning an iconographic werewolf mask as suggested and donated by Harry Batkin.

I also decided to reimagine the ending of my film, deciding to attempt a more creative and engaging sequence involving pulling the camera back to reveal a seemingly endless pattern of The Student watching himself watch himself watch his film.

*Comparison between the old and new ending*

Production Diary: Filming

Over the summer, I decided to film all of the footage for my short film. Below are the dates that I filmed, alongside the location and actors involved.

August 2nd: Woodlands Café, James Wickes and Jessica Gates
August 25th: My house, James Wickes
August 26th: Pine Woods, James Wickes and Harry Batkin

The filming went very well overall, I managed to capture a range of interesting shots and the actors were perfectly cast in their respective roles. All shots were handheld and taken with my iPhone 11, and although some shots had a little amount of camera shake, I managed to resolve this in LumaFusion. I unfortunately forgot to film one of the Love Interest’s lines but I managed to resolve this issue by cutting back to a previously used clip.

Through this, I have created an initial rough cut of my film, with the duration coming to 4 minutes and 46 seconds. This gives me enough leeway for credits at the end of the film.

Production Diary: Stop the Clock

Over the summer, I decided to film all of the appropriate footage for my coursework. Due to my efforts being focused towards the act of filming, I have not made a production diary log in over a month.

My next steps are to edit together a rough cut, which I plan to show to my teacher in due time. The most important step I must take in order to achieve this involves acquiring appropriate diegetic and non-diegetic sound to underscore my film.

Alongside this, I plan to reshoot some a small amount of shots to reduce unintentional camera shake. I also plan to write a blog post about soundtrack research, alongside a blog post about the minor changes I have made to my film.

Production Diary: Soundtrack Research

Soundtrack is a vital element of film, being responsible for the contextualisation of the mood and atmosphere of a scene. The context and atmosphere of a scene are subject to completely change with the addition of a specific soundtrack.

My film will contain a mix of both diegetic and non-diegetic sound throughout, with both requiring to undergo careful consideration. For example, I will underscore the opening shots of the film in the bedroom with the diegetic ambience of a clock ticking, indicating that the student is under time constraints.

For the woods scenario, I will select a score that evokes a sense of urgency, typical of a chase scene in a thriller. My current plan is to use parts of “Labor Intensive” from A Quiet Place (John Krasinski, 2018).

For the café scene, I am currently planning to use Elliott Smith’s Between the Bars. It is stripped back in nature, being made up of only soft vocals and an acoustic guitar. This matches the setting and aligns with the conventions of the intended romance genre I am attempting to emulate and parody.

For the ending of my film, I require a piece that evokes a sense of unnerve, accentuating the drama and shock value of the scene. Currently, I am using “The Greatest Trick” from The Usual Suspects (Bryan Singer, 1995), which plays during the shocking reveal of Keyser Söze’s true identity.

Production Diary: Wardrobe and prop acquisition

The costumes and props that I plan to include in my film are relatively basic, and will not require meticulous planning. Below is a general outline of the costumes and props that each character will wear and use.

Costumes

The Student/Protagonist: basic casual clothes – hoodie, tracksuit bottoms, etc.

Hooded Figure: black hoodie, black trousers, werewolf mask

Love Interest: casual clothes suitable for a date

Props

An iPad for The Student to conceptualise their film idea. For this, I can simply use my own Film Studies iPad.
Menus for the café scene, which I should be able to simply borrow from the café itself.
I have now decided for a werewolf mask to be worn by the Hooded Figure. Harry has a mask perfect for the occasion, and will simply bring it on the day of filming.

Production Diary: Storyboards

Below is a list of the 21 planned important shots that I hope to include in my film, as well as the corresponding storyboards.

Important Shots

Establishing wide of house
Closeup of clock ticking
Birds-eye-view shot of the student at a desk
Closeup of calendar
Tracking shot of student walking to curtains
Mid closeup of student typing
Ground level tracking shot of protagonist
Over the shoulder shot looking at hooded figure
Crab shot of chase
Tracking shot of protagonist tripping, slowly dollies up to reveal face
Low angle shot of hooded figure looking down
Mid closeup of student at desk
Tracking shot of protagonist in cafe
Mid closeup of protagonist at table
Wide shot of love interest walking through the door
Shot/reverse shot at table
Waiter POV shot
Closeup of love interest talking to camera
Closeup of student looking out of window
Multiple snippets of the two ideas cut in sequence (editing)
Over the shoulder shot of student watching TV

Storyboards

Production Diary: Screenplay

Writer’s Block: First Draft

Writer’s Block: Final Draft

In the redraft of my screenplay, I decided to cut down on the amount of narration as I deemed some of The Student’s internal dialogue unnecessary. I also presented The Student as slightly more sarcastic and self-aware in the final draft, which can be seen particularly during the window scene.

Production Diary: Location Scouting

As previously mentioned, I will shoot my short film in three locations: my house, the woods and a café. Below are a collection of photos, displaying each setting.

Bedroom

*The desk at which The Student will sit*

Living Room

*This is the angle at which I plan to film The Student, who will sit on the sofa*

Woods

*An intriguing dip in the woods that The Protagonist could trip over*

Café

Production Diary: Research into equipment

Throughout the production process of my film, I must utilise an array of basic filmmaking equipment in order to best capture adequate footage.

Filmmaking Equipment: The Basics

Camera

It goes without saying that the camera is inarguably the most important piece of equipment to consider during the filmmaking process. For my film, I will most likely employ the use of my iPhone 11 due to it being extremely compact, whilst also being able to film at a professional quality. However, if I am unhappy with the quality of my camera, I can resort to borrowing a camera from the department at school.

*My iPhone 11, which I plan to film with*

Lenses

If I do decide to film with a proper camera, I must carefully take different lenses into consideration. Each lens is best utilised for a specific shot type, or to create a specific effect. These include:

Macro lenses which are best utilised for closeups/extreme closeups with the intention of capturing a colossal amount of detail in a single image
Telephoto lenses are zoom lenses that have multiple focal points that are best utilised for isolating a subject that is placed far away in the frame.
Wide angle lenses are used for fitting a large area into a frame. This is very useful for establishing wide shots with an intended deep depth of field.
Standard lenses have mid-range focal lengths and can be used for a wide variety of shots, including wide angle shots as well as closeups.
Fisheye lenses are ultra-wide-angle lenses that capture a full 180º radius. In effect, this distorts an image’s field of view and creates a peculiar bubble-like effect.

Lighting

As detailed in a previous blog post, most scenes benefit from the implementation of a basic three-point lighting setup. This includes a key light, a fill light and a backlight.

Tripod

In order to guarantee steady and stable filmmaking, the use of a tripod is imperative. I currently own a basic iPhone tripod, but it is relatively small in height and it has the potential to restrict my filmmaking ability. I am considering the possibility of obtaining a different tripod, but am currently uncertain of the means of doing this.

Microphone

Capturing sound is another vital element of filmmaking which I will most likely achieve through the built-in microphone on my iPhone. Alternatively, I could employ the use of a boom mic and pole for an overall improvement in sound quality, but I do not believe the drastic inconvenience to be worth only a marginal improvement.

Production Diary: Research into lighting

Lighting is a vitally important element of filmmaking and is a quintessential technique in evoking a specific style. The three core types of lighting are key, fill and, backlighting – each serving a different purpose which is explained below.

Types of lighting

Key Lighting

The key light acts as the primary light source of a scene, usually being the strongest light on the set. The key light can be placed anywhere to create a number of different effects, but it is recommended to avoid placing it near the camera.

There are two main types of key lighting, being high key and low key. High key lighting refers to a style of lighting that displays an extremely bright scene, with no shadows present. Conversely, low key lighting contains lots of shadows and perhaps only one strong key light source.

Fill Lighting

Fill lighting is used to ‘fill in’ any unwanted shadowy areas that the key light creates. Noticeably weaker than the key light, the fill light is usually placed in the opposite direction to the key light.

Backlighting

Backlighting completes the third dimension of a scene, usually facing the primary subject of the scene. Once again, the backlight is considerably less intense than the key light. In effect, a backlight accentuates the silhouette of a subject.

Film Lighting Techiques — *Diagram of the three-point lighting system*

Production Diary: Research into storyboarding conventions

At their core, storyboards act as a visual guide for the production process of filming, informing the director of the basic composition of each shot of the film. A basic storyboard consists of a series of images that read like a comic strip, each panel representing a shot of your film. Below is a step-by-step guide on how to create a storyboard.

Steps to create a storyboard:

1. Make a shot list

After writing your screenplay, write down and number a list of each shot in a particular scene. At this point, it is important to consider what type of shot or angle will most effectively convey a particular meaning or effect.

2. Sketch out storyboard panels

Either using a storyboard template or digital software, sketch out each shot in a separate panel on your storyboard, numbering each as you go.

3. Add any important detail

Be sure to convey any important motion on your storyboarding by implementing directional arrows. Any props of particular importance must also be detailed on the storyboard.

4. Write the corresponding action or dialogue below each panel

This helps to contextualise the particular shot and illustrate the bigger picture of the film as a whole.

Production Diary: Research into screenplay conventions

The screenplay which I will soon write for my film must be formatted in a specific manner, consisting of six main elements.

Elements of a Screenplay

Scene Heading

Also known as the slug line, the scene heading is written in all capitals and is accompanied by INT (interior) or EXT (exterior) respectively. Alongside this, the scene heading purpose is to also give a brief description of the location or setting, as well as the time of day.

Action

Action describes anything that is able to be seen or heard. Any sound effects of importance must be written in block capitals.

Characters

The names of characters belong on a separate line in all capitals. Any character who appears off-screen or any voiceover should be accompanied by (O.S.) or (V.O.) respectively.

Parenthesis

Parenthesis (or brackets) provide contextual information or act as a stage direction for dialogue delivery. These should be used sparingly as to not reduce the readability of the screenplay.

Dialogue

Dialogue is formatted as blocks offset from all other text and is centralised on the page. Any overlapping dialogue is written in a block parallel to the main dialogue block.

Transition

Transitions mark the change from one scene to another, perhaps denoting a shift in time or place. This effectively marks any visual cues on the screenplay, but these should also be used sparingly.

*An example of a correctly formatted screenplay*

Production Diary: Action points and preparation possibilities

In order to fully prepare for the production process of my film, there are a number of actions I must take, primarily involving location scouting and casting.

Locations

My film will take place over three locations, being:

The house of the student (including a bedroom, living room and possibly a kitchen)
A forest area for the setting of the thriller scenario
A café setting for the romance scenario

The first two locations are relatively convenient to film in, due to the fact that I will film the scenes with the student in my own house. Alongside this, I will utilise the woods area located near my house for the setting of the thriller scenario.

The café setting will be slightly more of an inconvenience to locate, as I will have to contact one of the local cafés in my village to request filming permission. At this point in time, my main targets are Woodlands Café -due to my family being in acquaintance with the owners – or perhaps the outside café area in Jubilee Park.

Casting

As previously mentioned there will be four main characters in my film. Listed below are the actors I have cast to play each character.

James Wickes – The Student // The Protagonist

*Pictured above is James Wickes, who is set to play both The Student and The Protagonist. Here, he can ironically be seen with an iPad* *at a* *desk*. *His nonchalant yet modest demeanour will suit the role perfectly.*

Harry Batkin – The Hooded Figure

*Pictured above is Harry Batkin*, *his wolf-like appearance and dark brown hair will suit the hooded figure character well.*

Jessica Gates – The Love Interest

*Pictured above is Jessica Gates, her friendly and outgoing disposition will greatly suit the role of The Love Interest during the hypothetical romance scenario*.

Production Diary: Pitch and reflection

Below is a video of me pitching my film idea to the class. I believe it went relatively well, as the feedback from my teacher was all positive. I was also not asked any questions from the class.

My pitch

Reflection:

During the pitch, perhaps I could’ve directed more of my focus towards the bigger picture of my film, rather than unnecessarily focusing on specific shot types.

Production Diary: Treatment

Working Title:

Writer’s Block

Logline:

Centring around the concepts of both Metacinema and breaking the fourth wall, my film idea involves a student hopelessly attempting to conceptualise an idea for a short film.

Characters:

The Student – the Film Studies student who is attempting to create a short film.

The Protagonist – the central character that will appear in each of the hypothetical film scenarios.

(I am currently unsure whether The Student and The Protagonist will be played by the same actor or not.)

The Hooded Figure – the pursuer of the protagonist within the horror idea.

The Love Interest – the romantic interest that will appear within the romance idea.

Brief:

Despite previously noting that my film will classify under the “parallel stories” brief, I have now decided to opt for the “narrator” brief, due to it being much more achievable and lucidly recognisable.

Synopsis:

We open on an establishing shot of a house, before cutting to a birds-eye-view shot of a student – sitting at a desk – who is hopelessly attempting to conceptualise an idea for a short film. The student begins to type an idea, whilst narrating his thoughts out loud. We then cross-fade into a visual representation of what this idea is, alongside narration of what is happening.

The idea depicts a highly stereotypical horror chase scene in the woods, during which a terrified protagonist is running away from a hooded figure. As the chase ensues, the student’s narration continues before fading out. The chase ends with the protagonist falling to the ground, before the hooded figure reveals themselves to be just a regular person, telling the protagonist that the idea is too generic.

Out of frustration, the student deletes the typed idea before leaving the room. We follow him to the kitchen with a tracking shot as he pours himself a drink, contemplating the ideas in his head (more narration). Coming back to the desk, the student receives a message from his teacher urgently asking him to submit his idea before the deadline. As the student begins to type and narrate a new idea, we fade to another hypothetical scenario involving a cliché scene of the romance genre in a café.

The scenario involves the same protagonist arriving at a restaurant/café for a first date. A tracking shot displays the protagonist sitting at a table, before anxiously awaiting his date’s arrival (glance object of watch?). The woman enters and sits at the table, after which the pair engage in conversation in a shot/reverse shot sequence. The scenario ends with the woman breaking the fourth wall, and informing the protagonist that this scenario is also far too stereotypical.

In a state of desperation, the student continues to frantically type as we rapidly cut to different snippets of the scenarios in a sequence. The film ends with the twist reveal that the student’s final film idea is in fact the film that that you are watching. This will be revealed during the final shot of the film, with it being an over-the-shoulder of the student sitting and watching the opening shot of the film on their TV.

Production Diary: Production Idea

After viewing and blogging about each of the eighteen short films that make up the Eduqas Short Film Collection, the research stage of the coursework process is completed. It is now time to move onto the second element of coursework: pre-production, the first order of business being an outline of my production idea.

Idea

The keystones of my film idea involve the concepts of both Metacinema and breaking the fourth wall. The basic plot of the film depicts a student who is attempting to conceptualise an idea for a short film. Perhaps opening on an establishing shot of a house, the opening scene of the film will display the student sitting at a desk with an iPad, hopelessly unable to come up with an idea.

After displaying a closeup of blank Notes page, the student begins to type and we then cross-fade into a visual representation of what this idea is. We fade to a highly stereotypical horror chase scene in the woods, before coming to an abrupt end (perhaps a comedic resolution). Out of frustration, the student deletes the typed idea before leaving the desk. Coming back later, the student receives a message from his teacher urgently asking him to submit his idea before the deadline. As the student begins to type, we fade to another hypothetical idea involving a cliché scene of the romance genre in a café.

In a state of desperation, the student continues to frantically type as we rapidly cut to different scenarios in a sequence. The film ends with the reveal that the student’s final film idea is in fact the film that that you are watching.

Due to the film involving the portrayal of multiple hypothetical narratives, my film could nicely classify under the ‘narrative which has parallel stories’ brief.

Production Diary: Night Fishing (Park Chan-wook, 2011)

Night Fishing (Park Chan-wook, 2011) is a South Korean 33-minute short film of the fantasy/horror genre. The film entails a man who reels the seemingly dead body of a woman during a evening fishing trip. After suddenly rising from the dead, the man and woman symbolically swap clothes, before the fisherman is killed and his spirit enters the woman. Afterwards, the scene starkly changes – we cut to the woman who we can assume is a spirit channeller, rising from a bath. The man speaks to his family using the woman as a vessel, begging his estranged daughter for forgiveness at his own funeral.

The film’s main ‘gimmick’ is the fact that it was shot entirely on an iPhone 4, perhaps Park’s way of displaying the advancement of digital technology throughout the modern age. However, due to this, the film’s resolution is of a low quality and hasn’t particularly aged well. The digital grading employed by Park throughout the film is also highly prolific, with the colours appearing to be overly saturated particularly during the opening sequence. This saturation is later juxtaposed during the ‘night fishing’ scene where the opposite is apparent – colour appears to have been digitally drained from the setting.

The narrative structure of the film is also very convoluted. Although the events seem to play out in chronological order, the sheer nonsensicality of the plot instils an acute sense of disorientation within the viewer, albeit an extremely memorable viewing experience. The non-diegetic composed score featured throughout the film also accentuates the dramatic events on-screen.

Personally, I enjoyed Night Fishing for its highly idiosyncratic means of storytelling but was however slightly disillusioned by the actual events of the narrative. The aforementioned choice by Park to film entirely on an iPhone 4 now seems incredibly gimmicky rather than revolutionary, and the film shows its age in this regard. The film demonstrated to me how an unorthodox narrative structure can disorient the viewer in an effective and meaningful way.

Production Diary: Swimmer (Lynne Ramsay, 2012)

Swimmer (Lynne Ramsay, 2012) is a 16-minute short film that displays an unnamed swimmer’s journey through a series of rural rivers, during which he encounters an array of people in an attempt to reconnect with society.

The film’s narrative is highly ambiguous in nature and does not conform to a cohesive three-act structure. The film immediately makes its most vital priority clear: creating a stunning visual spectacle. The opening POV shot establishes a serene and pensive tone which continues throughout whilst also placing the viewer in the mind of the swimmer. It is at this point that we are also introduced to the slick greyscale grading seen throughout the film. Another key aspect of the aesthetic of Swimmer is Ramsay’s careful consideration of the sun’s reflection onto the water, which is particularly breathtaking in the final scene.

The soundscape primarily consists of the tranquil diegetic sounds of the splashing water in tandem with a juxtaposing non-diegetic compiled score that is evocative of British patriotism. After the titular swimmer is shot by an arrow at the hand of a tribal child, the pace of editing becomes extremely tumultuous which is reflective of the state of mind of the swimmer.

Personally, I did not receive much enjoyment from Swimmer due to its lack of any particular narrative complexity or character development. The stunning visual spectacle was indeed beautiful, but the novelty soon wore off. The film demonstrated to me the effective combination of diegetic and non-diegetic sound used to build up atmosphere.

Production Diary: Pitch Black Heist (John Maclean, 2012)

Pitch Black Heist (John Maclean, 2012) is a 13-minute short film concerning a pair of professional safe crackers who embark on a heist to rob a safe from an office. However, the alarm system immediately kills the lights, obliging the duo to meticulously learn the layout of the room beforehand.

Maclean employs a number of techniques throughout the film in order to create meaning. Choosing to film in black and white symbolises the moral ambiguity of the characters and perhaps places the film as a homage to classic noir crime dramas. The setting of the film is highly authentic and grounded in reality, the only main locations being a warehouse, a pub and the office with the safe. This separates the film from high-octane heist flicks seen within mainstream cinema, and informs the viewer that it should be taken somewhat seriously. The heist itself is filmed entirely in darkness, encouraging the viewer to exclusively direct their focus on the diegetic sounds of both the dialogue and sound.

Throughout the linear three act structure the film utilises, the primary focus that the film attends to is the development between the two main characters, displayed to the viewer during the pub scene. Through an array of humorous jump-cuts which transition between the characters taking part in leisurely activities such as drinking and arm-wrestling, we soon learn that Michael is much more sincere and reserved, whereas Liam is headstrong and often insensitive. The dialogue during these scenes are both snappy and authentic, further adding to the grounded tone that the film adheres to. During this, it is revealed that Michael’s father abandoned him at a young age, which later becomes a vital plot point of the film.

*The two characters arm-wrestling, the white backdrop juxtaposes the black and grey clothes worn by the pair*

The ending of the film is rather ambiguous, during which Michael purposefully activates the alarm by lighting a cigarette. I believe the implied meaning to be that Liam is in fact Michael’s dad that abandoned him and Michael leaving him to be caught by the police is his enactment of revenge. This shocking twist allows for an unexpectedly dramatic resolution to the film and releases the tension created by the two minutes of darkness prior.

Personally, I enjoyed Pitch Black Heist to a relative extent. I particularly appreciated the grounded tone and authentic dialogue that the film had to offer. However, I believe that the plot itself was relatively disengaging until the final scene and also found the characters to be relatively uninteresting. The film demonstrated to me how shooting in complete darkness can both save time for the filmmaker and force the viewer to direct their attention exclusively on the soundscape.

Production Diary: La Jetée (Chris Marker, 1962)

Le Jetée (Chris Marker, 1962) is a 28-minute French science fiction short film. Made up almost entirely from still images, the film tells the story of a dystopian experiment involving time travel after the events of a nuclear war. Within the film, a man is assigned to delve into his past, honing in on a vague memory of a woman the protagonist briefly spotted on a jetty, before witnessing an ambiguously horrific incident. Romantic chemistry develops between the man and the woman during his time in the past, after which he is sent into the future to receive a power unit that should be used to revitalise his present-day society. After the mission is complete, the man attempts to return to the past in an attempt to locate the woman again, before realising that the horrific event he witnessed as a child was in fact his own death.

As previously mentioned, the film is constructed almost entirely from optically printed photos, sequenced together as a photo montage. Alongside this, the only dialogue heard throughout the film is voice-over narration from the protagonist, allowing the viewer to empathise with his experiences and provide expository information. The non-diegetic composed score featured throughout the film is rhythmically sequenced, an example being when the score matches a dissolve effect. Marker’s apt use of non-diegetic sound further conveys a sense of movement throughout the film that is not present on-screen.

Due to the photomontage style of filmmaking employed by Marker, the editing of the film is profoundly stylistic and further supplements the eerie dystopian setting of the film. Marker’s implementation of cut-ins and fade-outs throughout illustrates a sense of unease and uncertainty, enhancing the sci-fi genre that the film adheres to. The film’s twist ending is equally shocking and satisfying, offering a palatable resolution to the narrative.

Personally, I enjoyed Le Jetée for the unique manner of storytelling it offered, and was enamoured by the unsettling dystopia of a post WW3 scenario. The black and white film stock utilised by Marker throughout the film further enhances the unsettling atmosphere created. The film demonstrated to me how still images can be used as an effective means of storytelling.

*The unnamed protagonist delving into his past*

Production Diary: The Grandmother (David Lynch, 1970)

The Grandmother (David Lynch, 1970) is 33-minute short film, being one of the very first films by visionary director David Lynch. Typical of Lynch’s work, the film is highly abstract and expressive throughout the portrayal of its narrative, depicting the struggles of a young boy living in an abusive household. Utilising a combination of live action and animation produced by Lynch himself, the boy is displayed ‘growing’ a grandmother from a mysterious pack of seeds he finds.

Throughout the film, Lynch employs a wide variety of techniques in order to create a chillingly eerie experience. The setting is highly minimalistic, merely depicting bedrooms and a dining room that exist in an abyss-like realm. Lynch implements the use of high contrast lighting, which works in tandem with the makeup applied to both the boy and the grandmother – the two characters appear to be reminiscent of a ghost through the use of pale makeup.

*Pale makeup is applied to both the boy and the grandmother*

Other uses of mise-en-scène include the strangely placed and conveniently labelled bag of seeds, alongside the cocoon-like plant from which the grandmother is born – permeating a sense of uncanny hyperbole. The soundscape is mostly non-diegetic, with the use of dissonant screeches and peculiar booming ambience utilised throughout to build atmosphere. The only diegetic sound heard throughout the film is the unintelligible screams of the parents towards their son.

Another highly expressive element of the film is the editing, which strikingly appears to be sequenced frame-by-frame at specific points in the film. Alongside the stilted one dimensional performances by each actor, this creates an extremely unnerving sense of dread throughout the film.

Personally, I relatively enjoyed The Grandmother for what it had to offer: a highly experimental experience that instils an acute sense of unease in the viewer. It is clear that this is the work of a young, untamed David Lynch. The film demonstrated to me the effectiveness of highly expressive and exaggerated mise-en-scène, used to elicit a particular meaning.

Production Diary: Curfew (Shawn Christensen, 2012)

Curfew (Shawn Christensen, 2012) is an Oscar-winning 19-minute short film about a suicidal man, Richie, who is asked by his estranged sister to look after his niece, Sophia, for the evening. Over the course of the film, the bond between the two characters grows and develops in many interesting ways. We learn that the reason that Richie has not seen Sophia since she was a baby is due to the fact that he dropped her on her head whilst taking care of her, leading to an important moment of development between the pair. After the day is over, Richie drops Sophia off at his sister’s house and returns home to commit suicide. However, the film ends with Richie being interrupted by another phone call from his sister on much nicer terms, requesting him once again to look after Sophia.

The film priorities narrative and character above all us, with Christensen utilising a simple three-act structure as well as a linear narrative throughout the film. The film could be classified under the ‘drama’ genre, meaning it doesn’t not have to conform to any particular conventions. The narrative could be argued as cyclical due to the film being bookended with scenes of Richie committing suicide in the bath. Despite this, Christensen also manages to successfully create an aesthetically pleasing experience, utilising the key elements of film form throughout.

For example, the film aptly incorporates colour in symbolically meaningful ways. Red is used as a symbol of Richie’s suicide, and can be seen within the bloodstained bath as well as the phone from which he receives the call from his sister. Conversely, blue is prominently displayed in the bowling alley scene with Sophia which suggests that both characters feel safe and have trust in one another. A shallow depth of field and artificial lighting both accentuate the dreamlike sense of wonder the pair experiences in each other’s presence. The film also features a particularly standout dance sequence that is in fact merely a hallucination of Richie’s mind. Throughout this, Christensen employs the use of a spinning camera, displaying Richie’s hallucinatory state of mind as well as a crab shot to follow Sophia dancing down the bowling alley. Christensen’s use of unorthodox techniques sets the scene apart from the rest of the film, alongside the use of a particularly dreamy composed score written by himself.

Christensen’s use of mise-en-scène throughout the film is also worthy of acclaim. Concerning costume design, Richie’s extremely rugged and dishevelled appearance starkly juxtaposes that of Sophia, who is warmly wrapped up in a large coat and wears a woolly hat. The contrast between the pair’s appearances reinforces the different backgrounds that the two originate from, and is an example of visual storytelling featured throughout the film. Richie is also unshaven and is often seen with a cigarette, further displaying his rough way of life.

One of the final shots of the film perfectly encapsulates Richie’s conflicted state of mind. He is filmed from an upside-down mid-closeup, displaying his defeated and hopeless expression. The red phone handset is also displayed in the frame, informing the viewer that an escape from the trauma is available to him, but at this moment, Richie is choosing to ignore it.

Personally, I thoroughly enjoyed Curfew from start to finish. Christensen incorporated the perfect blend of narrative, character development and aesthetic choices over the course of the film’s 19-minute duration. The performances by the duo are convincingly genuine and the film is also paced brilliantly. The film demonstrated to me the importance of colour palettes used in order to symbolise meaning.

Production Diary: High Maintenance (Phillip Van, 2006)

High Maintenance (Phillip Van, 2006) is a 9-minute short film which involves a woman who is unhappy in her current relationship. After a heated argument occurs between the couple over dinner, it is revealed that her husband is in fact a robot when the woman deactivates him by flicking a switch on the back of his neck. The woman then decides to exchange her current model for a new, more ‘desirable’ robot – she selects a new rock climber model that is customised to her preferences. After he arrives, he promptly begins to massage her before the final twist of the film is revealed: the woman is also in fact a robot herself.

Van utilises a number of interesting techniques in order to make the narrative of the film more engaging. The fact that the woman’s husband is a robot is foreshadowed through the woman’s remark that he is giving her “short, mechanical sex”, which she means literally. Intriguingly, Van also frequently cuts to a closeup of each character, highlighting the scrutiny that is occurring between the couple. The dialogue also seems to be purposefully stilted and robotic, which is yet another example of foreshadowing the final twist.

The film follows a linear structure and could be classified under the genre of sci-fi/romance. Van’s critiques the concept of relationships through the use of an eerily dystopian setting. The unrealistically long table at which the couple sit is representative of their cold and distant relationship. The colour grading is also particularly artificial – Van’s incorporation of industrial greys and blues is symbolic of the dystopian world presented throughout.

Personally, I enjoyed High Maintenance to a particularly ironic extent – I found the stilted acting relatively humorous. The 9-minute duration meant that the film did not overstay its welcome, and final twist of the film worked well enough, despite being somewhat predictable. The film demonstrated to me the effectiveness of a narrative twist in a short film.

Production Diary: A Girl’s Own Story (Jane Campion, 1984)

A Girl’s Own Story (Jane Campion, 1984) is a 27-minute Australian short film which explores the stage of female adolescence during the 1960s. Choosing to film in black and white, Campion displays the narrative by intercutting between multiple storylines. The film takes place in Australia, during the height of Beatlemania, in which two school friends – Pam and Stella – both kiss cutouts of Beatles members. Afterwards, one of the girls wears a mask of Ringo Starr before they practice kissing each other. This is intercut with scenes of another schoolgirl, Gloria, who is coerced by her brother into roleplaying as cats. In addition to this, the film also explores the relationship between Pam’s estranged parents, who use their daughters to communicate with each other.

A Girl’s Own Story immediately establishes the main ideas explored over the duration of the film. The opening scene involves a group of schoolgirls who observe an image of the male anatomy, which is displayed to the viewer through the use of a glance object. This introduces the viewer to the themes of sex and adolescence which are explored throughout. Campion’s decision to film in black and white with a 4:3 aspect ratio aptly reflects the aesthetic of the time period. This is further reinforced through Campion’s carefully selected mise-en-scène – particularly the costume design of the traditional schoolgirl uniform.

Voiceover is also used sparingly throughout the film, allowing the viewer to delve deeper into the minds of the three protagonists. Campion also interestingly chooses to conclude the film with a song that is sung by our three main characters: Pam, Gloria and Stella. Through this, the three girls are able to express their adolescent inner turmoil that is portrayed over the course of the film.

Personally, I did not receive much enjoyment from A Girl’s Own Story and found myself particularly disengaged from the events portrayed onscreen. The characters and themes of the film did not resonate with me, and I found the choice to conclude the film with a song to be somewhat schmaltzy. The film demonstrated to me the effectiveness of parallel narratives throughout a short film.

*The three protagonists singing during the final scene*

Production Diary: Elephant (Alan Clarke, 1989)

Elephant (Alan Clarke, 1989) is a 39-minute short film set in Northern Ireland, depicting 18 brutal murders during The Troubles. Partly based on authentic police reports, the film contains little to no dialogue and we learn nothing about each of the eighteen gunmen or victims. Each murder is carried out calmly and casually, and the motive behind each is never disclosed – we can only surmise that the murders are religiously motivated, reflecting the violent conflict occurring in Northern Ireland during this period.

*One of eighteen murders portrayed throughout the film*

Through a variety of techniques, the film creates an eerily chilling atmosphere. It is shot with 16mm film, with the majority of the film being shot with a Steadicam. This, alongside an abundance of Kubrick-esque tracking shots, make the film feel almost like an observational documentary of sorts. Each of the eighteen killings are displayed in a neutral and ‘formulaic’ manner, to the point where the viewer almost feels desensitised to the horrific events being portrayed.

An essential technique employed by Clarke throughout the film is a prolonged static mid-closeup of the lifeless corpse after each murder is committed. This effectively instills a sense of acute trepidation in the viewer, forcing them to possess empathy towards the innocent victim. The film does not conform to any particular genre conventions, and merely attempts to reflect the events of The Troubles.

Although I didn’t particularly receive much enjoyment from Elephant, I appreciated the bleak social commentary of The Troubles that it had to offer. The film also demonstrated to me the effectiveness of prolonged static shots in the way of creating dramatic effect.

Production Diary: The Wrong Trousers (Nick Park, 1993)

The Wrong Trousers (Nick Park, 1993) is a 29-minute stop-motion animated short film which features the iconic duo Wallace and Gromit. The film’s plot entails Wallace letting out a room to a nefarious penguin, who attempts to use Wallace’s new invention, the ‘Techno-Trousers’ in order to steal a diamond from the city museum. Due to this being the second short film in which Wallace and Gromit feature, the film is able to waste no time in introducing the eccentric duo to the viewer. Utilising a linear three act structure and conforming to the conventions of the comedy/action genre, Park successfully creates a heartwarmingly enjoyable short film.

*The iconic animated duo, Wallace and Gromit*

The key to Wallace and Gromit’s success is the synergistic dichotomy between the duo. Loosely based on Park’s father, Wallace is a humble, good-natured inventor, whereas Gromit is depicted as much more mature, thoughtful and intelligent despite being unable to speak. Through this, the scene where Gromit leaves Wallace after the penguin occupies his room instills a dramatic emotional response in the viewer, exacerbated by a particularly mournful non-diegetic score.

Park creates tension throughout the film using a variety of closeup tracking shots in tandem with the aforementioned orchestral score. For example, during the heist scene, the penguin accidentally drops the diamond. To create tension, Park cuts between a closeup of the diamond and a closeup of the penguin’s alarmed expression, during which the orchestra plays stab chords at strikingly forte dynamics which immediately focuses the viewer’s attention. The POV shot of the penguin edging closer towards Gromit in the box is also particularly tense, due to the filmmaker’s choice to make the penguin’s diegetic footsteps the only sound discernible in the mix.

The style of animation featured throughout the film is also of particular importance. Aardman’s signature ‘clay-mation’ style of stop-motion filmmaking means that each frame of the film is precisely constructed. Due to this, Park is essentially allowed total creative freedom in terms of mise-en-scène – the discernibly metallic texture of the ‘Techno-Trousers’ juxtaposes every other object in the film, reinforcing the fact that it is highly advanced technology. The clay models also allow for Gromit to communicate entirely through gesture and body language.

Personally, I thoroughly enjoyed The Wrong Trousers and possess a bountiful amount of nostalgia for the film. Park’s unique style of animation alongside meaningful character and plot development result in a highly enjoyable short film experience. In my opinion, the film exceeds the likes of When the Day Breaks in terms of what an animated short is able to achieve. The film demonstrated to me the effectiveness of an appropriate score in building atmosphere and tension.

Production Diary: When the Day Breaks (Wendy Tilby and Amanda Forbis, 1999)

When the Day Breaks (Wendy Tilby and Amanda Forbis, 1999) is a 9-minute Canadian short film which depicts the daily lives of two anthropomorphic characters, a rooster and a pig. The two share a brief interaction after the pig accidentally causes a lemon to drop out of the rooster’s shopping, leading to a dramatic car accident.

The main attraction to be found within the film is, without a doubt, the animation style. Utilising pencil and paint on photocopies, the filmmakers achieve a distinctive textured style of animation – akin to lithography. Each frame is hand-drawn and is sequenced in stop motion, creating a unique visual spectacle. The filmmakers aptly blend the familiar monotony of everyday life, with a distinctive and evocative aesthetic to form an intriguing viewing experience. The medium of animation allows the film to display objects with incredible detail. At one point, we are presented with the inner-workings of an iron in which the many wires are displayed to us.

During the awkward exchange between the pair, the viewer is able to accurately read the emotion of both characters. Despite the lack of dialogue and discernible human features, annoyance can be clearly surmised in the rooster and embarrassment in the pig respectively, thanks to Tilby and Forbis’ meticulous attention to detail. After the rooster is hit by the car, the smashed groceries on the pavement that are displayed to us are perhaps symbolic of the spontaneous unpredictability that life holds and that nothing lasts forever.

Although I did enjoy the unique visual elements of When the Day Breaks, I found that the core issue that the film suffered from is style over substance. The plot of the film could be described as minimalist at best and serves merely as a display for the animation style, which I personally found somewhat nauseating. The film demonstrated to me the effect that a striking visual spectacle can have on the viewer.

Production Diary: Meshes of the Afternoon (Maya Daren and Alexandr Hackenschmied, 1943)

Meshes of the Afternoon is a 14-minute experimental short film directed by and starring Maya Daren and Alexandr Hackenschmied, a husband and wife duo. The film is highly avant-garde in nature, displaying ambiguous and psychologically stimulating symbols through mise-en-scène, including: flowers, keys, knives and mirrors. The events of the seemingly circular narrative are ultimately left up to the viewer’s own personal interpretation, creating a wholly unique experience.

*The grim reaper*–*esque figure seen throughout the film holding a flower*

The film uses a wide variety of visually intriguing editing techniques in order to make the film highly enigmatic throughout. Daren and Hackenschmied manipulate the viewer’s perception of reality and location through the use of match on action. The filmmakers also utilise the early limitations of film in a way that only helps the film flourish. The dark gaps between each frame are accentuated throughout the film, particularly during the staircase scene – cuts of the protagonist are displayed standing at different positions on the stairs, with no apparent movement in between. Through this, the filmmakers have truly demolished all sense of a coherent time and space.

Personally, I really enjoyed Meshes of the Afternoon and was highly engaged in the ambiguous narrative and was fascinated by eerie atmosphere that the film established. The film demonstrated to me that simple editing techniques can be used in an array of creative ways to shape how meaning is conveyed.

Production Diary: Connect (Samuel Abrahams, 2010)

Connect (Samuel Abrahams, 2010) is a 5-minute short film which follows a woman on a bus experiencing a series of imaginary events as she lets her mind run wild whilst immersing herself in music. After daydreaming a man shooting an old woman in order to take her seat, our protagonist forms a brief but powerful connection with another passenger on the bus – holding hands for a brief, but intimate moment. Afterwards, the man gets off the bus and the woman imagines the passengers dancing.

Throughout its extremely short runtime, the film uses a number of interesting techniques in order to convey its message to the viewer. Firstly, blocking and framing is cleverly used in the opening scene of the film as the woman boards the bus – a centrally-framed closeup of the woman is held as a barrage of people storm onto the bus. The other passengers are filmed with a shallow depth of field, creating a sense of claustrophobia.

Colour grading is used to establish a dusk urban setting, with the bus’s artificial lighting representing the harsh way of life the woman is struggling through. During the closeup of the two hands touching, a glimmer of light briefly passes by the lens of the camera – displaying that this is a moment that the two characters will greatly cherish.

*The flicker of light as the ‘connection’* *occurs*

Overall, I enjoyed Connect a considerable amount for what it offered, but I believe that the film’s duration was much too short for it to tell a meaningful plot or convey any particular theme. The film demonstrated to me the effect that closeups and depth of field can have on the viewer.

Production Diary: Stutterer (Benjamin Cleary, 2015)

Stutterer (Benjamin Cleary, 2015) is a 12-minute short film which details the struggles of Greenwood, a reclusive typographer who suffers from a stutter. After talking to a girl for six months over Facebook, she finally decides to invite him to meet in real life as she is visiting London. The film details Greenwood’s anxiety as he attempts to muster up the courage to meet her, whilst also demonstrating the day-to-day social struggles he faces throughout his life.

The viewer is placed deep within Greenwood’s conflicted inner turmoil through the use of thought narration, instilling a strong sense of empathy in the viewer towards the protagonist. This is established immediately through the opening scene of the film, in which Greenwood’s stutter prevents him from discussing his bill over the phone. Cleary uses many centralised closeups of Greenwood to reinforce his position as the protagonist, as well as to display the plaster on his nose after he is involved in a violent conflict. Most of the film’s runtime is dedicated to developing Greenwood’s character, leading to a highly satisfying resolution.

The film follows the typical three act structure and additionally conforms to the typical conventions of a romantic drama. Stutterer prioritises narrative and character development above all else, utilising soft lighting and cinematography throughout. Cleary also incorporates elements of subtle visual storytelling into the film through mise-en-scène, displaying an array of books in Greenwood’s room, including sign language textbooks – reinforcing his introverted and secluded way of life.

Personally, I really enjoyed Stutterer and appreciated the simple but effective story it managed to tell brilliantly in a matter of 12 minutes. Embracing the conventions of the genre, the film aptly conveys themes of isolation and overcoming hardships throughout. The film demonstrated to me the importance of a cohesive three act structure and character development within the narrative of a short film.

Production Diary: About a Girl (Brian Percival, 2001)

About a Girl (Brian Percival, 2001) is a 9-minute short film which follows a girl recounting her childhood as she walks the streets of a grey, industrial Manchester. The nameless girl informs the viewer of her disdainful upbringing in the city, involving the relationship between herself and her divorced parents. We also learn of the girl’s aspirations of forming a pop group with her friends. The film ends with a dramatic shock twist when the girl reveals that she has become “dead good at hiding things” from her mother and tosses the bag she had been carrying the into the river, which is revealed to contain a dead baby.

*The opening shot of the film, displaying a silhouette of our protagonist*

The film utilises a variety of techniques in order to convey a sense of gritty authenticity to the viewer. The girl’s monologues are interspersed with small snippets of her partaking in the current anecdote she is recalling, providing the viewer with a clear image of her life. The girl also looks straight into the camera as it follows her from the front, addressing the viewer directly and breaking the 4th wall – forming a deeper connection between the girl and the audience. The urban streets are polluted and litter-filled, with monotone colour grading applied to accentuate the poor environment the girl lives in. After the burden of the dead baby is lifted from the girl at the end of the film, a noticeably vibrant colour grading is applied – demonstrating that a weight has been lifted off her shoulders.

In my opinion, the film’s twist purely serves as a brief ‘shock value’ moment, instilling a visceral reaction within the viewer. There is little to no example of foreshadowing prior to the reveal, perhaps due to the short run time of the film. I did not receive much fulfilment after watching About a Girl, but can appreciate the social realism it portrayed throughout. The film demonstrated to me the effect that a surprising twist can have on the viewer.

Production Diary: Wasp (Andrea Arnold, 2003)

Wasp (Andrea Arnold, 2003) is a 26-minute short film about a single mother who prioritises her love life with an old contact over the safety and care of her four young children. Winning the 2004 Oscar for Best Live Action Short Film, Wasp is a poignant social commentary on life within poverty-stricken council estates and the struggles of being a single parent.

Cinematography is used throughout the film as a subtle means of visual storytelling. Every shot of the film is extremely gritty and authentic – Arnold incorporates an array of uncomfortable closeups throughout, purposefully including obstructive objects within the frame. Through this, a sense of claustrophobia is created, especially during the pub scenes – mirroring Zoe’s hectic lifestyle. In addition to this, the film makes apt use of handheld cameras throughout, which instills further disorientation within the viewer.,

The film is entirely shot on location – a suburban council estate in Dartford – and natural lighting is incorporated throughout to add a further layer of realism to the film. Parallel editing is also utilised by Arnold to display Zoe and Dave in the pub together, while her four hungry children scavenge the streets for food. The performances by each actor, including the children, are highly authentic and believable.

I enjoyed Wasp and was moved by the bleak social realism it offered – it was clearly inspired by Arnold’s life experiences. The film also demonstrated to me the disorienting effect an array of handheld shots can have on the viewer.

Production Diary: The Gunfighter (Eric Kissack, 2014)

The Gunfighter (Eric Kissack, 2014) is a 9-minute short film of a comedy/Western genre. The film revolves around a subversive twist of a stereotypical Western in which the narrator of the film can be heard by each of the characters. The film builds upon this gag in many creative ways, as we soon learn that the narrator is in fact omniscient and knows many humiliating details about each of the characters. The score later becomes diegetic, further breaking the fourth wall in a creative manner. The film results in a traditional Mexican standoff initiated by the narrator.

*The titular Gunfighter as he hears the narrator for the first time*

Kissack aptly utilises this gag in order to satirise the tropes of a stereotypical Western. He establishes the archetype of this widely overdone genre by carefully selecting an appropriately cliché score, as well as mise-en-scène (including the interior of the saloon and costume design) reminiscent of the genre. Kissack additionally satirises the racist attitudes typically depicted within the Western genre, due to the saloon having a black bartender who is appears to be fully accepted by the characters, which is a detail that the narrator comments on.

The omniscient narrator joke is introduced within the first minute of the film, which demonstrates the concise and pacy nature of the film. Due to this short duration, the one and only gag does not overstay its welcome and the film is over just as the joke becomes old. The final standoff is yet another ridicule of typical Western flicks.

I enjoyed The Gunfighter a considerable amount and it has demonstrated to me how a concise and enjoyable story can be told in a very short amount of time. I did, however, believe that the film’s reliance on the single joke created a very one-dimensional tone.

Production Diary: Component 3 Overview

The third component of the A-Level Film Studies course is a production-based unit worth 30% of the qualification. This entails an entirely independent filmmaking project, involving the creation of a short film with a duration between four and five minutes. The coursework process will be entirely documented in a series of blog posts referred to as the Production Diary, this post being the first of many. The short film must align with one of the four briefs established by the exam board, listed below:

A narrative which has a distinct genre.
A narrative which has parallel stories.
A non-linear narrative.
A narrator.

The creative process of the making of the short film can be clearly divided into six ‘elements’ of production:

Element 1 – Research
Element 2 – Pre-production
Element 3 – Production
Element 4 – Post-production
Element 5 – Evaluative Analysis
Element 6 – Submission

Research involves the viewing of the Eduqas Short Film Collection, which consists of 18 films that will be viewed in class and will each receive a respective blog post afterwards. During the Evaluative Analysis process, at least three of the 18 films must be credited for imbuing creative inspiration within your own short film.

Pre-production is a lengthy process which occurs after a clear, finalised idea of what the short film will entail has been reached. The mandatory aspects of the pre-production process are listed in bold:

Production Idea
Treatment (written in detailed prose, using film-specific language)
Pitch (filmed verbal delivery of the treatment, followed by discussion)
Pitch Reflections (subsequent thoughts, audience response, teacher feedback, etc.)
Action points and preparation possibilities
Research into screenplay conventions
Research into storyboarding conventions
Research into lighting
Research into equipment – cameras, lenses, etc.
Location scout
Casting
Finalised screenplay, with evidence of drafts and versions
Filmed rehearsals
Filmed screenplay read-through
Storyboards
Practice shots
Wardrobe and prop acquisition
Makeup
Special effects
Soundtrack research

Production involves the entire filming process of the film and all aspects of camerawork and editing are assessed. A diverse range of camera shots and editing techniques are encouraged within the production, through the application of the key elements of film form. Performance skills are not assessed.

Post-production is another fairly lengthy process which has the potential to impact the final mark significantly. Through the process of frequent screenings in order to receive invaluable feedback, this process will involve reshoots and rewrites in order to improve the film in the best way possible. New cuts of the film will be edited in LumaFusion.

Evaluative Analysis involves a 1600-1800 word evaluation of the production. It is here that the Eduqas Short Film Collection will be referenced. The evaluative analysis will include:

The narrative structure of the short film – an analysis of how the narrative features and dramatic qualities of all short films studied are constructed – highlighting key ideas which informed our own production.
Cinematic influences – an analysis of how audio/visual elements of other professionally produced films or screenplays – including short films -influenced our own short film.
How our film creates meaning and effect – an analysis of how our production creates meaning and generates responses for the spectator in relation to other professional short films – including at least one of the Eduqas Short Film Collection.

Submission is the final element of the creative process, involving the handing in of three specific documents:

A cover sheet, completed with the class teacher.
The final short film itself, uploaded as a .mp4 file.
The evaluative analysis document, uploaded to the shared OneDrive folder.