Paul Feig is an American director, producer, writer and actor. Bridesmaids, Ghostbusters, A Simple Favour and Spy are some of his most well-known directorial pieces of work.
Feig's main trademark is the fact that all his films are all comedic in some way shape or form. Comedy plays such a big part in his films. He has spent years and continues to watching comedies and looking at comedic material in order to hone his comedic abilities. Silent films, such as the works of Charlie Chaplin, Buster Keaton and Harold Lloyd, have been of great inspiration to Feig, particularly when it comes down to the use of physical comedy.
Women are often at the forefront of Feig's films. Feig tries to ensure that he gets women's opinions on the female characters in his films so that their characters are more realistic in terms of how women speak, their behaviour etc.
Feig likes to ensure that the actors are at the centre in terms of deciding who their characters are and then building upon that. He allows for the cast to improvise and make suggestions. This allows for the cast to build a relationship, form chemistry and bounce off each other. The relationships between the characters is also important when it comes to Feig's films. The audience often wants to be a part of the relationships displayed in his films on screen and can relate to them in some way shape or form.
Fig.2 Poster for Bridesmaids (2011)
Paul Feig is also known for his sense of style, his suits in particular, and drew upon this when making A Simple Favour. A trademark of this film is the suits and outfits that Blake Lively, who plays Emily Nelson, wears throughout the film. The suits in this film were inspired by both Paul Feig's sense of style and films from the 'classic Hollywood film' era.
Fig.3 Film Still of Blake Lively in A Simple Favour (2018)
Feig's approach is focused around the characters and the actors playing them as well as the use of comedy.
Bibliography:
Berkowitz, J. (2017) "Bridesmaids" and "The Heat" Director Paul Feig On How To Make <strike> Female-Driven </strike> Comedies Everybody Wants To See. At: https://www.fastcompany.com/3020072/bridesmaids-and-the-heat-director-paul-feig-on-how-to-make-female-driven-comedies-everybody- (Accessed 11/02/2021)
Blackwelder, C. (2020) 'Bridesmaids' director reveals who broke character the most whilst filming' . At: https://www.goodmorningamerica.com/culture/story/paul-feig-enduring-legacy-bridesmaids-10-years-73191722 (Accessed 11/02/2021)
Eakin, M. (2013) 24 hours of inspiration: The Heat director Paul Feig talks us through some of his comedy favourites. At: https://film.avclub.com/24-hours-of-inspiration-the-heat-director-paul-feig-ta-1798238999 (Accessed 11/02/2021)
Fig.1 Merritt, J. (2011) Portrait of Paul Feig. [Photograph] At: https://www.imdb.com/name/nm0082450/mediaviewer/rm4153457408/ (Accessed 11/02/2021)
Nicholson, R. (2019) ' 'Paul Feig: Male humour always devolves into homophobia and name-calling' ' In: The Guardian 18/10/2019 At: https://www.theguardian.com/film/2019/oct/18/paul-feig-male-humour-always-devolves-into-homophobia-and-name-calling (Accessed 11/02/2021)
Ryzik, M. (2015) 'The Director Paul Feig Prepares 'Spy' With Melissa McCarthy' In: The New York Times 01/05/2015 At: https://www.nytimes.com/2015/05/03/movies/the-director-paul-feig-prepares-spy-with-melissa-mccarthy.html (Accessed 11/02/2021)
Wallace, C. (2018) Inside The Amazing Wardrobe Of Hollywood Director Mr Paul Feig. At: https://www.mrporter.com/en-us/journal/fashion/inside-the-amazing-wardrobe-of-hollywood-director-mr-paul-feig-571416 (Accessed 11/02/2021)
Greta Gerwig is an American actress, director and writer best known for Lady Bird (2017), Little Women (2019) and Mistress America (2015).
Gerwig prefers her work to hold authenticity, particularly with regards to the characters interactions. The majority or Gerwig's directing work focuses on the actors and enabling them to deliver realistic performances mainly through the use of authentic fast-paced dialogue. She draws upon how people behave in the 'real world' and uses and encourages this to create authenticity.
Both Lady Bird and Little Women (two of the most well-known films Gerwig has directed) are coming of age stories that focus upon finding a way of existing in the world and both centre around familial relationships.
Gerwig ensures that she works with the director of photography before shooting this is mainly to ensure that the actors and story/dialogue are the main focus of the film rather than the camera movement. She prefers a sense of stillness
In addition to this, she works alongside the director of photography in thinking about how the film should look. For example, as the film Lady Bird, is set in 2002-2003, Gerwig wanted it to have the appearance of a memory, so she worked with director of photography Sam Levy to present her ideas and to achieve the final look. She also wanted the image to appear as though the viewer was slightly removed so that they would feel as though they were watching a memory.
Fig.2 Film Still of Saoirse Ronan on the floor in 'Lady Bird' (2018)
Greta Gerwig often draws upon inspiration from things such as books, films, TV shows and the world around her. For the character of Lady Bird McPherson in Lady Bird, she knew that she didn't want Lady Bird to be a polished person, setting unrealistic beauty standards. She wanted her to be a realistic teenager, who suffered from things like acne, dyed her hair herself, who wasn't glossy like fashion magazines and the media make people appear to be.
Gerwig drew upon films such as Romeo + Juliet (1996), Clueless (1995), and 10 Things I Hate About You (1999) with regards to demonstrating to Saoirse Ronan, who plays Lady Bird, what her character wanted and would've "cherished" (Gerwig, 2018).
For Little Women, Gerwig drew upon her love for the book that she grew up reading. She drew upon experiences of how much harder it is for people to get on board when a woman tries to do/achieve something and used and emphasised this within the film for example, throughout the whole process of Jo writing and publishing her novel.
Gerwig prefers the characters in her film to be equals in terms of not just serving the main character but as if they were a main character as she believes that "If you followed any single character, they would have their own movie" (Gerwig, 2018).
Decision
I decided to take forward Greta Gerwig's Lady Bird. It was a film that I enjoy watching and felt as though I could adapt to make it my own. I chose the scene that takes place in the gym of Immaculate Heart of Mary (The Abortion Seminar Scene) and the scene that follows on from this and takes place in Lady Bird's family room and consists of an argument between Lady Bird and her mother, Marion. I felt as though I could attempt to put a greater emphasis on the characters in terms of who they are, how they come across, and their relationships through the use of things such as production design and camera shots.
Bibliography:
Berman, E. (2018) 'How Greta Gerwig Is Leading By Example' In: Time Magazine At: https://time.com/5180697/how-greta-gerwig-is-leading-by-example/ (Accessed 11/02/2021)
Fig.1 Ryan, J. (2019) Portrait of Greta Gerwig. [Photograph] At: https://variety.com/2019/film/podcasts/greta-gerwig-little-women-hell-bent-on-directing-1203452020/ (Accessed 31/01/2021)
Fig.2 Levy, S. (2018) Film Still of Saoirse Ronan on the floor in 'Lady Bird' (2018) In: Lady Bird. United States: Universal Pictures. (Accessed 11/02/2021)
FilmD. (2020) The Directing and Writing Style of Director Greta Gerwig At: https://www.filmd.co.uk/articles/the-directing-and-writing-style-of-director-greta-gerwig/#:~:text=Acting%20Style,in%20her%20first%20two%20films. (Accessed 11/02/2021)
Giardina, C (2018) 'Cinematography Secrets to 'Baby Driver', 'Lady Bird' and 'Wonder Woman' ' In: The Hollywood Reporter At:https://www.hollywoodreporter.com/lists/cinematography-secrets-baby-driver-lady-bird-wonder-woman-1070738 (Accessed 11/02/2021)
Hart, H. (2017) Cinematographer Sam Levy's Shot List Pictured Lady Bird A Year In Advance At: https://www.motionpictures.org/2017/12/cinematographer-sam-levys-shot-list-pictured-lady-bird-a-year-in-advance/ (Accessed 11/02/2021)
IMDB (2021) Greta Gerwig Filmography At: https://www.imdb.com/name/nm1950086/#director (Accessed 11/02/2021)
Malkin, M. (2019) 'Listen: Greta Gerwig 'Was Hellbent on' Directing 'Little Women' ' In: Variety At: https://variety.com/2019/film/podcasts/greta-gerwig-little-women-hell-bent-on-directing-1203452020/ (Accessed 11/02/2021)
O'Falt, C. (2017) 'How Greta Gerwig's Brilliant Use of Colors Turned 'Lady Bird' Into An Emotional Nostalgia Trip' In: IndieWire At: https://www.indiewire.com/2017/12/lady-bird-greta-gerwig-color-sam-levy-1201907175/ (Accessed 11/02/2021)
Stevens, I. (2018) 'Lady Bird' director Greta Gerwig: 'I'm interested in women, period' ' In: Financial Times 09/02/2018 At: https://www.ft.com/content/245c13d4-f162-11e7-bb7d-c3edfe974e9f (Accessed 11/02/2021)
Steve McQueen is a British Director and filmmaker probably most well known for Hunger (2008) 12 Years A Slave (2013), Widows (2018), and most recently, the TV mini-series, Small Axe (2020). He began as an artist and went into directing later on. Before putting his hand to directing, McQueen began as an artist
McQueen's films are often focused on realism. His work is often engrossing and deals with challenging topics (in particular, the truth). He often looks to drag the audience into the experience of the subject/s his work delves in to (McQueen, 2013). McQueen often uses detailed close-ups of the action, allowing the audience to get up-close-and-personal to the action and face the harsh reality of the often challenging subjects of Steve McQueen's films. For example, in the ending scene of the film Hunger (2008), McQueen subjects the audience to a close up of one of the main characters', Bobby Sands (played by Michael Fassbender), eyes as he is dying. It adds to the sense of empathy and allows the audience to experience the final stages of Bobby's life alongside him. Death plays a big part in everyone's lives and often isn't spoken about enough so through this, the audience is made to face up to it vicariously.
Fig.2 Film Still of a close up of Michael Fassbender's Eye from Hunger (2008)
Through McQueen's use of close ups and focus on realism, I have learnt that it allows for the audience to hold a greater sense of empathy and ensures that the audience faces up to the reality of life.
McQueen is thoughtful when it comes to colour.A good example of his use of colour is the film, Shame. McQueen appears to have used a lot of blues throughout this film, particularly with regards to the exterior shots. This could be to symbolise the fact that he is an isolated sex addict struggling to navigate and deal with life.
Fig. 3 Still of Michael Fassbender Outside from Shame (2012)
Fig. 4 A Collection of Stills from Shame (2012)
It could be said that Michael Fassbender is a trademark of McQueen's as he often appears in his work. Fassbender has appeared in three of McQueen's films, Hunger (2008), Shame (2012), and 12 Years a Slave (2013).Long-takes could also be said to be a signature of McQueen's as they appear in the majority of his work.
The majority of his work tends to contain one or more running scenes. Running scenes take place in Hunger (2008), Shame (2012), 12 Years a Slave (2013), Widows (2018), and the Small Axe series (2020). All of the characters involved in the running scenes are running away from something. In the episode of Education in the Small Axe (2020) series, Kingsley is seen running away from the classroom in the school that he is being forced to attend due to an unlawful segregation policy, denying his right to an equal education. Another example of a running scene is in the film Widows (2018), where we see the character Veronica, running away with the money from the heist and from the scene where she's just killed her husband, who has been having an affair. McQueen's use of running scenes could be representative of the fact that we are often running away from things in life whether it be for good or bad reasons.
McQueen has used a mixture of digital and film in his work. When shooting the Education episode of Small Axe (2020) 16mm film was used to replicate the films and TV shows of the 70s (the time period in which Education is set). Whereas, the Lovers Rock episode of Small Axe was shot on an Arri Alexa.
I admire McQueen's realism within his work and his use thoughtfulness, particularly when it comes to thinking about what to film on, whether that be digital or analog.
Bibliography:
12 Years A Slave (2013) Directed by McQueen, S. [Netflix] At: https://www.netflix.com/watch/70284282?trackId=13752291&tctx=0%2C1%2C7370a791c1d1c50170f2c36bcb594f2b9ef47e13%3Ae75927713609074cdacbd3e413d68f8200b79fbe%2C7370a791c1d1c50170f2c36bcb594f2b9ef47e13%3Ae75927713609074cdacbd3e413d68f8200b79fbe%2C%2C (Accessed 10/02/2021)
Fig.1 Le Segretain, Pascal. (2011) Portrait of Steve McQueen. [Photograph] At: https://www.imdb.com/name/nm2588606/mediaviewer/rm369933312/ (Accessed 31/01/2021)
Fig.2 Bobbit, S. (2008) Film Still of a close up of Michael Fassbender's Eye. [Film Still] In: Hunger. London:Film 4. (Accessed 10/02/2021)
Fig.3 Bobbit, S. (2012) Still of Michael Fassbender Outside from Shame. [Film Still] In: Shame. London:Film 4. At: https://www.pinterest.co.uk/pin/44613852541498685/ (Accessed 10/02/2021)
Fig.4 Bobbit, S. (2012) A Collection of Stills from Shame. [Film Still] hame. London:Film 4. At: https://www.pinterest.co.uk/pin/138063544811789252/ (Accessed 10/02/2021)
Hunger (2008)Directed by McQueen, S. [Netflix] At: https://www.netflix.com/watch/70108808?source=35 (Accessed 10/02/2021)
Hunt, A. (2020) "The Manifesto was: let's trust our heritage, our talent and each other": Shabier Kirchner on shooting Small Axe At:https://www.bfi.org.uk/sight-and-sound/interviews/shabier-kirchner-cinematographer-small-axe-steve-mcqueen (Accessed 10/02/2021)
Palmer, L. (2013) 6 Filmmaking Tips From Steve McQueen. At: https://filmschoolrejects.com/6-filmmaking-tips-from-steve-mcqueen-feefb8320c29/ (Accessed 10/02/2021)
Small Axe: Alex Wheatle (2020) [Television Programme] BBC IPlayer 06/12/2020. At: https://www.bbc.co.uk/iplayer/episode/m000q6rf/small-axe-series-1-alex-wheatle (Accessed 10/02/2021)
Small Axe: Education (2020) [Television Programme] BBC IPlayer 13/12/2020. At: https://www.bbc.co.uk/iplayer/episode/m000qfb1/small-axe-series-1-education (Accessed 10/02/2021)
Small Axe: Lovers Rock (2020) [Television Programme] BBC IPlayer 22/11/2020. At: https://www.bbc.co.uk/iplayer/episode/m000prjp/small-axe-series-1-lovers-rock (Accessed 10/02/2021)
Small Axe: Mangrove (2020) [Television Programme] BBC IPlayer 15/11/2020. At: https://www.bbc.co.uk/iplayer/episode/p08vy19b/small-axe-series-1-mangrove (Accessed 10/02/2021)
Small Axe: Red, White and Blue (2020) [Television Programme] BBC IPlayer 29/11/2021. At: https://www.bbc.co.uk/iplayer/episode/m000pzmb/small-axe-series-1-red-white-and-blue (Accessed 10/02/2021)
Chiaroscuro lighting (low-key lighting) emphasises both shadow and lighting in order to create depth.
A key light is often the strongest and most important light. It is traditionally the main source of lighting.
A fill light is often placed opposite the key light to fill in the shadows created by the key light. The use of the fill light decides upon both the mood and style of the shot.
Background light separates the subject from the background, giving it a more three dimensional look. Background light also lights up the background of the shot.
2)Examples of Pictures we'd taken with Natural Light and with a Key Light Source:
I was asked to look at pictures I had taken or take pictures that represented pictures taken with natural lighting and those taken with a key light source.
Example of Natural Light:
Example of a Key Light Source:
'This Is Not A Love Letter' Short Film:
("This Is Not A Love Letter", 2020)
'This Is Not A Love Letter' is a short-film directed by Ariel Zucker and encompasses the reactions of a woman's friends as she shares with them the story of her experience of having an abortion for the first time. The short-film is part of a spoken word series by CNT Productions and is focused upon a poem that the lead actor wrote when reflecting upon her experience of having an abortion and as a woman in society.
In 'This Is Not A Love Letter', I believe that the director alongside the director of photography chose to use soft lighting in order to enhance the emotional connection with the audience. The DoP appears to have mostly used natural lighting at the very beginning of the film, changing as soon as the dialogue begins. The colour and lighting are warmer once the dialogue begins to possibly mirror the fact that the lead isn't alone in her experiences and that she appears to be accepted and empathy is shared by the other people she tells.
The colour palette used primarily contains reds, yellows, blues and greens. The warmth of the yellows and reds could be representative of the emotional connection and passion between the experience of the lead and the other women. The blues and greens could be symbolic of the shock and numbness that the lead was feeling at the time surrounding her abortion. In addition to this, they could also represent the sadness she was feeling due to the event that had occurred and the pressure often placed on women by society with regards to deciding what they should do with their bodies.
The camera is handheld throughout the film, creating a sense of intimacy as you are experiencing and incredibly personal moment alongside each character as the lead recounts her first abortion.
Bibliography:
"This Is Not A Love Letter" (2020) [Online Video] At: https://www.youtube.com/watch?v=cEWZyo-h99k&ab_channel=CNTProductions (Accessed 27/01/2021)
In this workshop, I learnt how to use Premier Pro to edit a video alongside sound. Prior to this workshop, I had limited knowledge of Premier Pro.
We were given video clips and audio clips to create a story by putting them all together. I learnt how to use the basics such as, the mark in and mark out tools. Through asking questions, I discovered that what we were editing was called a 'rough cut'. We were also taught the importance of making the video flow, making sure the cuts didn't appear to jump too much and looking carefully at the angles of the shots.
Ferg placed emphasis on thinking about marking the videos in and out and putting them together based on the tempo of the music and the audio (around four frames per second). We were made to also think about the reasoning behind putting our video clips in the order that we did. For example, I put the video of the train arriving at the beginning and the train leaving at the end as they mirrored each other and resembled the main character's thoughts entering and leaving, taking him into a world of his own. I also tried to match the video clip to the story that was being told by the main character. For example, when he talked about thinking alone and getting lost in his own thoughts, I used a video clip of him sat by himself clearly lost in his own thoughts. I didn't use all of the clips that were given as there was rather a lot of camera shake on some of them and the story being delivered still made sense without these clips.
This was my first attempt at editing a short film on Premier Pro. If I remade the rough cut/edit of this video, I would change the ending of the video. Prior to the subway leaving at the end, I would add or extend a clip of the main character so that the video makes more sense and it doesn't just suddenly transition from the main character to the subway leaving.
Through this Premier Pro workshop with Ferg, I was able to build up confidence in myself as an editor and realise that the initial editing process (rough cuts/the first edit) is less complicated than I initially thought it to be.
Camera Workshop (The Chair) 06/11/2020
For the camera workshop, conducted by Sam Creamer, we had to work in a group to create coverage with the brief being a chair. My peers and I created a storyline based on a woman in a doctor's waiting room, nervously waiting to find out the results of a pregnancy test. We collaboratively thought about the different shots we could create.
Sam used the example of a six second clip from the film Taken 3, to show us that it isn't always best to have lots of cuts/cuttings on things however, it can work sometimes.
We were made to think about the intention behind each shot and the intention behind what we're doing. Thinking about the intention behind each shot/our coverage then enables us to effectively tell our story. Also thinking about the scene without the camera there/blocking the action out and running through the performance without the camera meant that we knew our intentions behind each shot and how we wanted to display this to the audience. An example of a shot we got that held meaning behind it was a shot of the main character's feet moving, which showed that she was nervous.
Due to the obstacle shooting during the corona virus pandemic, I learnt that using wide shots can help overcome this obstacle. It allows the actors to utilise the space and enables more coverage to be taken. Having more coverage means that the director and editors have more freedom to create their desired product. It was also emphasised to us to think about the 180 degree rule (an invisible axis connecting subjects) and incorporate this into our work.
We looked at a video showing Alfred Hitchcock's explanation of the Kuleshov effect. I learnt that the Kuleshov effect is a psychological phenomenon where the viewers obtain a greater meaning from 'the interaction of two sequential shots than from one shot in isolation'. I found the Kuleshov rather interesting as you can change the way the audience feels about a character/something based on the interaction of/meaning behind these two shots. The Kuleshov effect can enhance a shot and successfully relay the storyline to the audience without the use of words.
Premier Pro Workshop: Zero to Hero (11/11/2020)
This was our second Premier Pro workshop with Ferg. This workshop was focused on learning how to edit on the timeline.
I learnt how to move clips around on the timeline without overwriting another clip, how to extract a clip (pressing the x key and then pressing the apostrophe key), how to swap a clip's place on the timeline (command+alt), and how to delete a clip (pressing the delete key or semi colon).
I was shown how to change the sound channel in order to have the best and clearest audio for that clip. In addition to this, Ferg established the importance of keeping the audio all on A1 and putting the B-Roll (actuality) onto V2. Having all of the audio on A1 means that the sound can be mixed, controlled and modified easily by both yourself and others as it is easier to find than having to go through multiple lines of audio on the timeline to find the correct audio. Putting the B-Roll onto V2 (the second video line) means that you can change the feel of something without changing/losing the story.
When adding the background music, I was curious as to how to go about changing the volume. I asked Ferg and he showed me that I can either do it through the mixer or I can make the sections of the timeline bigger so that I could drag down the volume of the music on the timeline itself.
For this edit, I started out by marking each interview's in and out points and then placing them onto the timeline. Once I had arranged the clips on the timeline in the way that I wanted them, I then took a look at the B-Roll clips. I selected some that I thought went with the audio from the interviews and marked them in and out. Next, I matched them with the story on the timeline. Once I had done that, I chose an audio clip (music) from the B-Roll and marked it in and out, putting it on the timeline afterwards. In order for the story/interviews to be heard, I brought down the volume of the music. For the final part, I added the graphics in and put a black screen at the end to signify the start and end of the short-film.
I really enjoyed this workshop and getting to know the software better. Through these workshops, I am reflecting upon my previous work and using these reflections to improve upon each edit.
Premier Pro Workshop: Fairly Legal (18/11/2020)
This was our third Premier Pro workshop with Ferg. This workshop was primarily focused on learning the slip, ripple and roll tools in Premier Pro.
Through this workshop, I learnt that the slip tool changes what you see on the video and adds to the clip but doesn't make the timeline any long. The roll tool allows you to roll the action a little closer to where you want it and the ripple tool allows you to sync two clips together.
This edit wasn't as smooth (in terms of transitions between clips) as I would've liked it to be, but it was okay for a first attempt. I was able to learn what the three tools did and how apply them to the footage.
The Bar Shoot: Rebecca Script (25/11/2020)
We were given the choice of two scripts and around two hours to shoot and edit. We went with the "Rebecca" script as we felt that we could do more with it and were already coming up with ideas for what we could do. We altered the script slightly to ensure that the actors felt more comfortable in their roles. As a group, we were permitted to shoot in the bar set at Maidstone TV Studios.
We each agreed upon and allocated our roles. I put myself forward as director in order to try the role out. We decided to put a comedic spin on the originally emotional seeming script. As a group, we discussed how we could go about shooting this. We drew upon the POV shots often used in the TV show Peep Show and wanted to incorporate them into our work.
As director, I helped guide the actors on their performances by giving them feedback and putting forward suggestions. I also worked alongside the director of photography (Heather) to ensure that we successfully got enough coverage, the camera was in the correct position for the shot we wanted, and everything looked okay.
I found that directing was a fun, but stressful experience. It was rather tiresome constantly trying to maintain everyone's focus, ensuring that we completed the task. I ensured that we got enough coverage in order to be able to edit the footage together. Throughout the whole shoot and the editing process, we tried to keep in mind the 180 degree rule. If we had more time, we would've played around more with the positioning of the camera.
Whilst editing, I found myself getting frustrated with the jumpiness of the video. In order to deal with this, Ferg helped me use the roll tool to allow for them to run more smoothly, matching similar actions in each clip together. Aspects of the video are still a bit jumpy, but I decided to keep them like this as it added to the comedic effect that we were trying to portray. It is also representative of the kind of style of editing used in Peep Show.
I enjoyed learning more about Premier Pro and trying out the directing role. It was great to collaborate with others and achieve a mostly successful outcome.
The Grave Visit Test (02/12/2020)
We were tasked with filming two pages of our group's chosen screenplay (Derrin's Screenplay) within the baseroom at the Studios. We set ourselves up in the corner of the baseroom and moved furniture around to get a set that somewhat resembled a living room.
It was hard to maintain continuity due to the fact that it was shot in the afternoon and the sun was setting whilst we were completing the task. We attempted to try and fix this by adding in some artificial lighting, but were still unable to maintain continuity with regards to light as we didn't have time to reshoot everything. For future purposes, we shall ensure, to our best ability, that we have the same lighting set up throughout.
Our main goal for this shoot was to gain coverage and test out different ways in which we could shoot the screenplay. We tried to gather footage from a variety of angles.
With regards to the editing, the clips sort of flowed, although I would've liked the transitions to have appeared a bit smoother. I also added in royalty free audio that I had found online. I would like to understand how to edit the video so that the lighting matches throughout. To combat this, I will research how to do this through researching and watching things like tutorials.
Overall, the video tells part of a story, which is in some ways is a success.
Our final project for the Script to Screen unit is titled the Interview. Initially, we had planned to adapt and shoot Derrin Elliott's screenplay for the final project. However, due to a national lockdown, as a result of the coronavirus pandemic, we were unable to go ahead with our plans. We had to collaboratively come up with creative alternatives. It was decided that in order to make this work, we were going to have to adapt Derrin's idea and write two completely new pages of script. As a team, we virtually met and tried to figure out some creative solutions to our obstacle. We drew upon things that we had watched. For example, we looked at the show Staged and the film Cyberbully as well as video platforms like Youtube. As we had to shoot remotely due to the lockdown and us all being in different locations, the solution we decided upon was to create something similar to a video diary. We adapted Derrin's initial screenplay about a father having a conversation with his deceased daughter to being about a brother who had lost his sister and was trying to get his life back on track. Heather wrote the new screenplay and conferred with us as a group, making changes along the way to ensure that it sounded realistic and could be shot. Despite the challenge of Covid-19, we were able to work collaboratively to come up with a solution and product.
As the Producer, I was tasked with completing risk assessments, location scouting, and ensuring that everyone was getting on with their roles. As a result of Derrin's screenplay being partially set in a cemetery, I got in contact with Kent Film Office to try and obtain a cemetery as our location. Due to Covid-19, we had to ensure that we had back-up locations in case we weren't allowed to shoot in a cemetery. When tier four and lockdown were announced, it was decided that we would shoot in our student accommodation (one of our backups). Whilst writing the first risk assessment, I struggled to know what to write and how much detail to go into. Once I had completed it, gotten feedback on it and had it signed off, I became more confident with writing a risk assessment. In addition to being producer, I was also the Covid-19 Supervisor, meaning that I had to ensure precautions were taken surrounding filming and the pandemic. I used the risk assessment to highlight the Covid-19 precautions our group were to take and the possible impacts it could have if Covid-19 precautions weren't taken.
To begin with, we had allocated Harry as editor. With the change in circumstances, we collectively decided that we would each make our own edits of the footage. This not only enabled us to see how we interpreted the footage and story, it allowed us to practice using Premier Pro and become more confident with it. Through the editing workshops with Ferg and looking up tutorials on Youtube, I was able to feel a bit more confident with using Premier Pro halfway through editing the final project. I learnt how to add video transitions (e.g. cross dissolve) between two clips to make them appear smoother and allow for the video to flow in a better way. I learnt how to rotate a video from portrait to landscape. In addition to this, I gained an understanding of how to adjust the volume of the audio clips. When editing, I had to keep reminding myself that you do not have to religiously match up each clip to each action/scene. Instead, it's about telling the story and making it come to life visually, ensuring that it makes sense along the way.
In order to develop further, I would like to develop my camera skills surrounding the industry standard cameras and understand more about them. Furthermore, as I continue to edit more videos, I would like to ensure that jump cuts are more smoothly hidden so that aspects of the footage appears as though it was filmed as one. By continuing to use Premier Pro, I will hopefully gain more knowledge and skill as well as become more confident in using the software.
Script to Screen: Screenwriter Research - John Logan
Fig.1 Portrait of John Logan
John Logan is an Irish-American screenwriter and producer probably most well-known for writing Penny Dreadful, Sweeney Todd, Skyfall and Gladiator, as well as many more.
After reading the Penny Dreadful TV Pilot screenplay, I wanted to read more of John Logan's screenplays and explore his work further. Therefore, I decided to conduct my screenwriter research on him.
John Logan often researches and draws upon history, as well as his personal experiences when writing. For Penny Dreadful: City of Angels, he drew upon the history of "his city", Los Angeles, and the large Hispanic population that the city holds, 48.6% as of 2020 (United States Census Bureau, 2020). His interest with regards to the history of Los Angeles allowed him to reflect upon current issues for example, the treatment towards those of a different ethnicity. To avoid political incorrectness, Logan gathered insight through those belonging to the Latino community by surrounding himself with as much Hispanic talent as he could (Logan, 2020). Logan's use of history and his own experience when writing is admirable. It allows for content to become more relatable to the audience, often resulting in greater engagement.
Fig.2 Penny Dreadful: City of Angels (2020)
There seems to be a common theme with regards to the genres of Logan's screenplays. Logan appears to primarily write screenplays that come under the genres of drama and/or action. This could be to do with his interest in ghosts and the supernatural that he has held since he was a young child. Macbeth and Hamlet played a particularly crucial role in Logan's love for storytelling. The action and drama that they hold is what primarily drew Logan towards writing and storytelling from a young age.
Logan grew up on Poetry as a result of his Irish parents, and uses both poetry and books to influence his writing. Reading is an incredibly beneficial resource when it comes to writing as it allows for the writer to draw upon their imagination and strike inspiration for their work. Due to his love of Shakespeare, Logan also holds interest in theatre and musical theatre. He has written things such as Moulin Rouge! The Musical, The Last Ship Musical, Red and many more. Logan famously wrote the screenplay for Sweeney Todd: The Demon Barber of Fleet Street, which grossed $153,383,627 worldwide (Box Office Mojo IMDB Pro, 2008). The film focused on a 'demon barber', Benjamin Barker, who kills his customers and turns their remains into meat pies, with the help of his tenant, Mrs Lovett. Logan's screenplay for Sweeney Todd is rather gruesome and invokes a sense of curiosity amongst the reader/viewer, gaining their engagement.
Fig. 3 Sweeney Todd: The Demon Barber of Fleet Street (2007)
Whilst reading a selection of Logan's screenplays from over the years, I felt as though his writing has become clearer and more concise, whilst managing to maintain a significant amount of detail and still allowing the reader/viewer to clearly visualise the content. I have found that the format of his more recent screenplays are easier to read than those from earlier on in his career. For example, Logan's screenplay for Skyfall is put in a simpler format and is more concise than his screenplay for Star Trek: Nemesis. Logan's development shows that the more you persist with writing, the more refined your work can become. Reading Logan's work helped me to understand how to format my screenplay in a way that was easily understandable. I also had a better understanding of how to convey emotion through speech, description, and stage directions, which I used when writing my screenplay.
Bibliography:
Ayuso, R. (2020) John Logan: "Writers need to dream and write all kinds of voices" At: https://www.goldenglobes.com/articles/john-logan-writers-need-dream-and-write-all-kinds-voices (Accessed 04/01/2021)
Bafta (2011) Screenwriters' Lecture: John Logan [London: BFI Southbank 20/09/2011]
Box Office Mojo IMDB Pro (2008) Sweeney Todd: The Demon Barber of Fleet Street Worldwide Earnings At: https://www.boxofficemojo.com/releasegroup/gr2966049285/ (Accessed 15/01/2021)
Cerasaro, P. (2011) 'InDepth Interview: John Logan Talks SWEENEY TODD, CORIOLANUS, LINCOLN &More' In: Broadway World 15/12/2011. At: https://www.broadwayworld.com/article/InDepth-InterView-John-Logan-Talks-SWEENEY-TODD-CORIOLANUS-LINCOLN-More-20111215 (Accessed 14/01/2021)
Fig.1 Bronwen Sharp Portrait of John Logan. [Photograph] At: https://www.imdb.com/name/nm0517589/mediaviewer/rm3004173568/ (Accessed 15/01/2021)
Fig.2 Showtime Penny Dreadful: City of Angels. [Photograph] At: https://www.imdb.com/title/tt10361016/mediaviewer/rm3570383873/ (Accessed: 15/01/2021)
Fig.3 Warner Brothers Sweeney Todd: The Demon Barber of Fleet Street. [Photograph] At: https://www.imdb.com/title/tt0408236/mediaviewer/rm3100085504/ (Accessed: 15/01/2021)
Haun, H. (2010) 'STAGE TO SCREENS: "Sweeney Todd" Screenwriter John Logan Paints Broadway Red' In: Playbill 27/03/2010. At: https://www.playbill.com/article/stage-to-screens-sweeney-todd-screenwriter-john-logan-paints-broadway-red-com-167119 (Accessed 15/01/2021)
IMDB John Logan At: https://www.imdb.com/name/nm0517589/?ref_=nmbio_bio_nm#writer (Accessed 15/01/2021)
IMDB John Logan Filmography At: https://www.imdb.com/name/nm0517589/?ref_=nmbio_bio_nm#writer (Accessed 15/01/2021)
Logan, J. (2002) Star Trek: Nemesis At: https://www.scriptslug.com/assets/uploads/scripts/star-trek-nemesis-2002.pdf (Accessed 15/01/2021)
Logan, J. (2004) The Aviator At: https://www.scriptslug.com/assets/uploads/scripts/the-aviator-2004.pdf (Accessed 15/01/2021)
Logan, J. (2007) Sweeney Todd: The Demon Barber of Fleet Street At: https://www.scriptslug.com/assets/uploads/scripts/sweeney-todd-the-demon-barber-of-fleet-street-2007.pdf (Accessed 15/01/2021)
Logan, J. (2012) Skyfall At: https://www.scriptslug.com/assets/uploads/scripts/skyfall-2012.pdf (Accessed 15/01/2021)
Logan, J. (2012) Penny Dreadful Pilot Script At: https://ucreative-my.sharepoint.com/personal/mrymer_ucreative_ac_uk/_layouts/15/onedrive.aspx?FolderCTID=0x012000A98322C95427654FA7209A4F8222728E&id=%2Fpersonal%2Fmrymer%5Fucreative%5Fac%5Fuk%2FDocuments%2FScript%20to%20Screen%2FTV%20Pilots%2FPenny%5FDreadful%5F1x01%5F%2D%5FPilot%2Epdf&parent=%2Fpersonal%2Fmrymer%5Fucreative%5Fac%5Fuk%2FDocuments%2FScript%20to%20Screen%2FTV%20Pilots (Accessed 13/01/2021)
Thomas, J. (2014) 'The Thing That Made Me Monstrous to Some People Is Also the Thing That Empowered Me' In: Slate 09/2014 At: https://slate.com/human-interest/2014/05/penny-dreadfuls-john-logan-why-a-gay-writer-feels-a-kinship-with-frankensteins-creature.html Accessed (13/01/2021)
United States Census Bureau. (2020) U.S. Census Bureau QuickFacts: Los Angeles County, California At: https://www.census.gov/quickfacts/fact/table/losangelescountycalifornia/RHI725219 (Accessed 10/01/2021)
As the producer and Covid-19 supervisor for our project, I was tasked with completing the risk assessment, finding the location, and ensuring that Covid-19 safety measures were put in place.
We decided on filming in St Margaret's Cemetery, Rochester and had an interior location (Derrin, the director's house) as a backup just in case we were unable to film in our preferred exterior location. In order to gain our location, it meant communicating with Kent Film Office. As a result of a national lockdown due to Covid-19, we were unable to shoot in either location. This meant that we had to think on our feet about where and what we could shoot. The location that we decided upon, as a result of this, was our student accommodation. We decided that as everyone was in different locations we would shoot our project remotely. As a result of this, I had to complete a new risk assessment based upon the changes that we had decided.
Mind Map of Ideas for the Second Draft of the Screenplay
In order to further develop my screenplay for the second draft, I created a mind map. As a result of Jane Marlow's feedback, I thought about the different ways in which I could make Dorothy more interesting and not necessarily your stereotypical elderly lady. I also thought more about her background as an ex police officer and how I could further play this into the story. I wrote all of my thoughts down onto a piece of paper and then formulated them into a mind map. Through doing this, I was able to select the thoughts/ideas that I thought I could work and inputted them into the screenplay.
Feedback on the First Draft received from Jane Marlow:
"This is a detailed script that really sets the scene well. I feel like I get a really good sense of Dorothy and her life and the end is really heart-wrenching when you fear that she’s become a danger to herself. In the next draft, maybe think about playing against the stereotype of a ‘old woman’ and giving the character an arc that feeds into her history as a police woman. Think also about the developing tone of the interior voice as she becomes more and more confused but keeps trying to get herself on track and persuade herself that she’s okay. Stage directions can hold the story up so find some opportunities to trim these back".
When writing the second draft, Jane suggested that I give the main character (Dorothy) more individuality and play against the stereotype of an old woman. By doing this, it will allow my character and story, to become more interesting and add a bit more depth to it. In addition to this, Jane recommended that I think about the inner dialogue of Dorothy herself. In doing so, I should think about how it sounds to the audience and reflect upon how we, as humans, often speak to ourselves (our inner dialogue). As a result of changing aspects of Dorothy's internal dialogue, it would allow for the screenplay to become more realistic.
Jane next proposed that I cut down the stage directions and "chop the ones that aren't necessary". I learnt that too many stage directions can stall a story. Reflecting back upon my use of stage directions, I knew that I had made them too lengthy in order to fill out my story to make it ten pages. I also knew that I had used detailed stage directions so that it could be more easily implied that the main character (Dorothy) had dementia. Jane explained to me that subtle stage directions can imply things about a character and/or the story just as well as more detailed ones. By writing in more subtle and cut-down stage directions, it can also invoke more curiosity amongst the reader/audience.
It was also suggested that I should set the main character (Dorothy) up with an objective so that there is a character arc in place. Jane and I discussed the possibility of Dorothy not achieving what she set out to achieve in the first place. I then put forward the idea that she could possibly be preparing for a police reunion that she is due to attend later in the evening. Through this, it will mean that Dorothy has something to work towards, despite her not achieving what she set out to.
As a result of Jane's feedback, I shall think about and make these changes to the second draft of my screenplay in order for it to be of better quality.
When coming up with the idea for my 10-page drama screenplay, I wrote down the ideas that popped into my head. I struggled to come up with three ideas so I decided to watch various short films, use a story generator, and research drama screenplays. Through doing this, I was able to come up with more ideas whilst also developing/thinking about how I could develop the ideas that I already had. Out of the ideas that I had written down, I selected a few that I thought I could potentially develop. In order to understand how to write a pitch, I took part in a workshop with the screenwriter, Jane Marlow. In this workshop, we were tasked with coming up with two ideas for two screenplays, developing these ideas, and then forming them into two pitches. Through doing this, I was more confident in understanding how to pitch a screenplay/come up with a log line and how to develop my ideas further (e.g. defining each character, adding a twist, thinking about a character's response). I used what I had learnt from the workshop to come up with three pitches for the ideas that I thought that I could potentially develop further. I then pitched these ideas to my group who chose pitch number three as that was the one that most appealed to them. I felt as though I could develop pitch number one further than I could with any of the other pitches so asked for the input of the course leader, Mike. Mike advised that I could work on two screenplays at once if I wanted to and to do the idea that I felt I could develop further. Based upon this advice, I went with pitch number one.
Pitch One: An elderly woman suffering from dementia and struggling with day-to-day life finds that her husband is late for dinner, discovering he's not where she thought he would be.
Pitch Two: A son and mother haven't spoken for years until he finds out that she has terminal cancer, forcing him to reconnect with his past.
Pitch Three: A middle aged man discovers a live skeleton in his closet. The skeleton will not leave his side until he reflects upon his past actions.
Mind Map of Initial Ideas
For research, I looked at films based around dementia, grief, loss and love. As well as short films, I also watched the film Iris (Iris, 2001). Iris is a biographical film based upon the life of the author, Iris Murdoch. It depicts her life living with alzheimers and, flicks back and forth between her past and present. Watching Iris enabled me to think and develop ideas for and about my screenplay further. For example, thinking about characterisation and behaviour of the main character.
Mind Map of Ideas I Got from Watching the Film Iris
In order to get a better understanding of who my characters were as people, I wrote a small character profile on each, whether or not they appeared in the screenplay.
Initial Character Profiles
In a later workshop with Jane Marlow, we checked in with her with regards to where we were at with our screenplay. Through this workshop, Jane helped me in shifting my main focus to be the main character her struggle with dementia and trying to find her husband rather than focusing on her struggle getting up the stairs. She helped me to move away from the supernatural and keeping it realistic so that the audience can hold a greater sense of empathy. As a result, I ensured that the husband would not appear as a ghost-like figure at the end of the film but rather keep him off screen. Jane's feedback also enabled me to bulk out my screenplay by thinking about other occurrences that could happen on her journey such as, where else in the house she could go and what could happen in those places and whether something or someone could trigger various memories.
Whilstwriting the screenplay, I got somewhat stuck in thinking about how to add more in order to increase the volume of the screenplay. To combat this, my peer (Heather Wallbanks) and I reflected upon our screenplays and gave each other feedback. As a result of this feedback, I was able to add more to and develop my screenplay by doing things such as, inputting stage directions and transitions as well as referencing the main character's (Dorothy's) husband (Brian) more so that the audience are reminded she is looking for him.
Bibliography:
Iris (2001) Directed by Eyre, R. [DVD] London: BBC Films.
Penny Dreadful is a TV dark drama written by American playwright and screenwriter, John Logan. The title, Penny Dreadful, is a reference to the highly popular and cheap Victorian booklets that contained gruesome stories and were issued weekly.
In the first scene, we discover that the pilot episode of Penny Dreadful is set in Victorian London on Wednesday, July 8, 1891. As the reader/audience, you are immediately hooked through Logan's description of the surroundings and goings on. The graphic description Logan for example, the description of the butchers in Spitafields and the Spitafields Flat, also allows you, as an audience member, to vividly imagine the setting. The instantaneousness of the graphic description causes the audience's shock to be magnified.
There is an immediate link between the first scene and the second scene. In the first scene (INT. SPITAFIELDS, LONDON), we discover that this scene is set in Spitafields Market and describes a butchers within the market. The reader/audience are then cleverly led/taken to the next scene (INT.SPITAFIELDS FLAT), which takes place in a flat through, through the use of flies flying from the butchers "across the street toward a particular building" buzzing "in and out of a half-open second story window" (Logan, 2012:1). Logan's use of "The butchered corpses" when setting the scene, mirrors "the caracasses hanging" in the butchers from the initial scene (Logan, 2012:1).
The protagonist is Ethan Chandler, whose past haunts him and starts to catch up with him even though he thought that he'd escaped it. We are made to feel slightly sorry for and empathise with Ethan despite his outwardly cocky manner. We discover that he holds a lot of hurt and pain and to make this worse, he has just lost one of the last things he had left, his job. We, alongside Vanessa, are made to understand that Ethan is an alcoholic and uses alcohol to numb his pain when Vanessa says "your left hand tremors, that's the drink" (Logan, 2012:9). Logan gives a greater depth of Ethan's character by subtly revealing more about his personality as the story goes on. For example, at the beginning of the pilot, we learn that Ethan is a bit of a hot-head, which results in him getting fired from his job then, towards the end of the episode, we discover that all he wants to escape his past/reality, which seems to land him in all sorts of tricky situations.
Logan subtly hints through his use of description, "they're pale, sickly-looking, thin... eyes almost completely filled with dark pupils" (Logan, 2012:13), that the quartet that Sir Malcom Murray, Vanessa Ives and Ethan visit, are vampires. This is later confirmed when Sir Malcom uses a stake to kill them.
The pilot script is fast paced, to build suspense, therefore engaging the viewer. Through doing this, it increases the viewer's curiosity and leaves the viewer with a lot to reflect upon. For example, in the second scene (INT. SPITAFIELDS FLAT) in the midst of the conversation between Alex Galsworthy and the Constable, there is a sudden flash, which we learn to be the crime scene photographer's camera going off, this interruption builds suspense and reflects the chaos that the crime scene appears to be . The fast pace at which this pilot is written reflects the busyness of Victorian London, with it's overcrowding and it being the world's largest financial centre in the world (English Heritage).
A physical and emotional reaction is felt from this pilot script, particularly in the Ressurectionist's Mortuary. Right from when Vanessa pulls back "the sheet covering the body, exposing it" (Logan, 2012:21) as an audience/reader, you want to turn away and/or physically squirm. We learn that the body that the doctor is investigating is an in-human mummy when "he pulls back the skin to reveal an oily black membrane beneath" (Logan, 2012:23), making the audience squirm further.
As this is a pilot script, Logan doesn't give too much away about the characters and what's going on in the story. This leaves the reader/audience wanting more. For example, we want to know more about each characters' backstory and the storyline. What happened between Ethan and his father, why are there vampires, what kind of being is Vanessa and what are both Sir Malcom Murray and Victor Frankenstein (the doctor) up to, how the characters' storylines intertwine?
The pilot script of Penny Dreadful uses a lot of description, which was useful in helping me to develop my screenplay. The screenplay I wrote, 'Things Aren't Always As They Seem' is mostly descriptive and takes the audience on a journey of discovery. My screenplay provides clues about the character, much like Logan has done with his characters. In order to develop the second draft of my screenplay, one of the suggestions that Jane Marlow put forward was to cut the stage directions that aren't necessary. This pilot script will help me with that as Logan has included some stage directions and description but he hasn't gone over the top in order to lengthen it out.
The Penny Dreadful pilot script is a suspenseful script that left me wanting more.
Bibliography:
English Heritage. 'Victorians: Commerce'. At https://www.english-heritage.org.uk/learn/story-of-england/victorian/commerce/ (Accessed 07/12/2020)
Logan, J. (2012) 'Penny Dreadful Pilot Script'. At: https://ucreative-my.sharepoint.com/personal/mrymer_ucreative_ac_uk/_layouts/15/onedrive.aspx?FolderCTID=0x012000A98322C95427654FA7209A4F8222728E&id=%2Fpersonal%2Fmrymer%5Fucreative%5Fac%5Fuk%2FDocuments%2FScript%20to%20Screen%2FTV%20Pilots%2FPenny%5FDreadful%5F1x01%5F%2D%5FPilot%2Epdf&parent=%2Fpersonal%2Fmrymer%5Fucreative%5Fac%5Fuk%2FDocuments%2FScript%20to%20Screen%2FTV%20Pilots (Accessed 13/12/2020)
Anderson, H. (2016) 'The Shocking Tale of the Penny Dreadful' (1) In: BBC Culture https://www.bbc.com/culture/article/20160502-the-shocking-tale-of-the-penny-dreadful (Accessed 13/12/2020)
