Fiction Adaptation: Script

 Script

Initially, going into the project, I decided that I wasn’t going to have any dialogue. However, when editing the film, I felt as though it would benefit from some dialogue. As a result of this, I decided to do a voice over. 

I thought carefully about the footage I had and how I could create a voice over that matched up with the footage and still images.

I drew upon my own experiences of being sexually assaulted and looked at the impact it has had upon both myself and others. I wanted to bring to light that being sexually assaulted often has both short- and long-term effects upon victims/survivors (Boyd, 2011). 

I made an initial notes page of potential dialogue that I could include within the film. From this, I then looked at the footage I had and selected the dialogue from the rough script that I had written and put it into the final voice over script. Within the script, I also wanted to link it back to the sonnet that I had chosen, “Time Does not Bring Relief” (St. Vincent Millay, 1917, cited in Rymer, 2021). I decided to put the title of the sonnet at the very beginning of the film as I felt that that was where it was best suited due to the sequence of the film being about the impact that being sexually assaulted has had on her. 

Figure. 1 Initial Voice Over Script for Fiction Adaptation

Figure. 2 Initial Voice Over Script for Fiction Adaptation

Figure. 3 Initial Voice Over Script for Fiction Adaptation

Figure. 4 Final Voice Over Script for Fiction Adaptation

Figure. 5 Final Voice Over Script for Fiction Adaptation

Bibliography:

Boyd, C. (2011) The impacts of sexual assault on women (ACSSA Resource Sheet). At: https://aifs.gov.au/publications/impacts-sexual-assault-women (Accessed 12/12/2021)

Fig.1 Initial Voice Over Script for Fiction Adaptation (2021) [Notes, Screenshot] (Accessed 11/12/2021)

Fig. 2 Initial Voice Over Script for Fiction Adaptation (2021) [Notes, Screenshot] (Accessed 11/12/2021)

Fig. 3 Initial Voice Over Script for Fiction Adaptation (2021) [Notes, Screenshot] (Accessed 11/12/2021)

Fig. 4 Final Voice Over Script for Fiction Adaptation (2021) [Notes, Screenshot] (Accessed 11/12/2021)

Fig. 5 Final Voice Over Script for Fiction Adaptation (2021) [Notes, Screenshot] (Accessed 11/12/2021)

Rymer, M. (2021) Fiction Adaptation Lecture Series. [Kent: University for the Creative Arts 25/10/2021].

Fiction Adaptation: Equipment Used

 Equipment Used

For my shoot this unit, I used two tungsten lights, a Canon 7D, a GoPro, a selfie stick, and a shoulder rig.

I chose to shoot on a DSLR camera (Canon 7D) over a Panasonic AG DVX200 as I felt that I could get more up close and personal with the actor using a DSLR and achieve a more intimate feel than I could with a Panasonic primarily due to the size of the camera, with the Canon 7D’s dimensions being 148.2mm x 110.7mm x 73.5mm (The Digital Picture.Com, 2021)  and the Panasonic AG DVX200’s dimensions being 181mm x 216mm x 374mm (Panasonic, 2021). With the subject matter being the sensitive topic of sexual assault, intimacy was of great importance within my shoot. 

Figure. 1 Canon 7D (2021)

The shoulder rig was an important selection for my film as I wanted the shots within the film to be entirely handheld and the shoulder rig would allow for both the stabilisation of camera whilst still maintaining the handheld element. The film is about the impact sexual assault can have therefore,  so having my shots handheld helped to create a sense of intimacy (Deguzman, 2020). I wanted the audience to be able to really try and experience what the character is experiencing with regards to the impact that sexual assault has had on them. 

I also wanted to do some 360 degree circular pan shots (The Columbia Film Language Glossary, 2021), which the shoulder rig would allow me to do easier than that of a tripod or dolly. With the circular pan shots being filmed in the street, it made more sense  to use a shoulder rig due to the surface of the floor. 

Figure. 2 Shoulder Rig (2021)

In addition to the DSLR, I used a GoPro to try and achieve a distorted look. Through using an extremely wide lens, it created a distorted look and aims to create a sense of discomfort within the audience. It also creates the feel of the audience looking into the character’s life (The Columbia Film Language Glossary, 2021). I used a selfie stick to hold the camera. Through using the selfie stick, I was able to film the actor from a distance, whilst still getting close-ups of the actor. With the selfie stick, we were able to get both high angle shots and low angle shots amongst others as well as try and keep the camera somewhat steadier than it would’ve been if it was to be held without any aids. When using the GoPro, I was able to download the GoPro app and look at the footage being shot through my phone. Throughout shooting with the GoPro, I used my phone as a monitor. 

Figure. 3 GoPro Hero 7

Throughout the shoot, photographs were taken as I wanted to include still images within the short film. I took photographs using both the DSLR and the GoPro, so that I could play around with the different looks of the camera with the lens of the GoPro having more of a distorted look than that of the lens that I was using for the DSLR. 

As I wanted the film to be in black and white and it is about a raw and challenging subject, I thought that a higher level of contrast would be best. In order to achieve this, I asked lecturer and technical tutor, Sam Creamer, how I would go about doing this through the use of lighting. We both agreed that tungsten lights would be best suited to create a greater level of contrast than that of LED light panels. Through using the tungsten lights to create a high contrast effect, it allows the film to have a sense of grit and creates an atmosphere. 

By removing the colour, it also allows the audience to focus on the story at hand and stops them from getting overwhelmed by colour, which would take away from the story (Rymer, 2021). This was another reason behind having the film in black and white. 

Figure. 4 Arri Tungsten Light (2021)

As Tungsten lights get extremely hot and take up more electricity than LED light panels do (Toyo LED Electronics LTD., 2016), I ensured that I switched off the tungsten lights when they were not in use and handled them with gloves so that neither the cast, crew nor myself burnt ourselves on them. 

Bibliography:

Deguzman. (2021) The Handheld Shot in Film - Definition and Examples. At: https://www.studiobinder.com/blog/handheld-shot-in-film-definition-examples/ (Accessed 10/12/2021)

Fig. 1 Canon (2021) Canon 7D. [Photograph]  At: https://www.canon.co.uk/for_home/product_finder/cameras/digital_slr/eos_7d_mark_ii/ (Accessed 10/12/2021)

Fig. 2 Shoulder Rig (2021) [Amazon, Screenshot] At: https://www.amazon.co.uk/Neewer%C2%AE-Camcorder-Fujifilm-Panasonic-Include/dp/B019W91U7G/ref=asc_df_B019W91U7G/?tag=googshopuk-21&linkCode=df0&hvadid=309924713643&hvpos=&hvnetw=g&hvrand=15347567969159381432&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9045025&hvtargid=pla-440005396699&psc=1 (Accessed 10/12/2021)

Fig.3 GoPro (2021) GoPro Hero 7. [Photograph] At: https://gopro.com/en/gb/update/hero7-black (Accessed 10/12/2021)

Fig.4 Greenkit (2021) Arri Tungsten Light. [Photograph] At: https://www.greenkit.london/product/tungsten-fresnels (Accessed 10/12/2021)

Panasonic. (2021) AG DVX200 Specifications. At: https://pro-av.panasonic.net/en/products/ag-dvx200/spec.html (Accessed 10/12/2021)

Rymer, M. (2021) Fiction Adaptation Verbal Feedback. [Kent: University for the Creative Arts 10/12/2021] 

The Digital Picture.Com. (2021) Canon EOS 7D Specifications. At: https://www.the-digital-picture.com/Reviews/Camera-Specifications.aspx?Camera=673 (Accessed 10/12/2021)

The Columbia Film Language Glossary. (2021) Circular Pan. At: https://filmglossary.ccnmtl.columbia.edu/term/circular-pan/#:~:text=Term%3A%20Circular%20Pan,degrees%20around%20a%20fixed%20axis. (Accessed 10/12/2021)

Toyo LED Electronics LTD. (2016) Light Emitting Diodes (LED) VS Tungsten Light Bulb. At: https://www.toyo-led.com/en/light-emitting-diodes-led-vs-tungsten-light-bulb/ (Accessed 10/12/2021)

Fiction Adaptation - Content Research

 Content Research

Link to presentation: 

https://docs.google.com/presentation/d/1ufoJgmnFIgebGFKVmYcPERnKtRNsCW3_Nwdirq0NJJM/edit#slide=id.p

I created a presentation in order to get my ideas into a hard copy rather than just having them in my head. Through creating a presentation, it helped me communicate my ideas visually. 

The presentation I created contained the sonnet that I have chosen to adapt, an analysis of the chosen sonnet, a moodboard, video inspiration, possible locations, possible shot ideas, and possible audio/sounds that I can use. I sent this presentation over to my cast and crew so that they had an idea of the sort of thing I wanted.

I looked on Pinterest for inspiration. I wanted a black and white look for my film as I felt like it meant that the audience could focus on the story at hand without being overwhelmed by colour as well as the fact that black and white film often creates a distinct dramatic effect (Britannica, 2021). Through exploring images on Pinterest, I was given ideas for some shots that I could do in relation to the impact that sexual assault can have on victims/survivors. By creating a moodboard, I was also able to visually communicate the emotions I wanted to convey throughout the film, with the use of various shot sizes, colour and lighting. 

Figure. 1 First Moodboard Slide for Fiction Adaptation (2021) 

Figure. 2 Second Moodboard Slide for Fiction Adaptation (2021)

When thinking about the black and white colouring of my film, I looked at multiple films that used coloured/shot in black and white. 

One I came across that I really liked was the film La Jetée (Marker, 1962). La Jetée (Marker, 1962) is a science fiction film that explores a man’s memories after World War III (IMDB, 2021). The film consists primarily of still images, with one shot out of the whole film being a moving image. The film was shot in black and white. It is narrated throughout. I liked how a story was told through a combination of images and narration. The high contrast images within the film were something that I want to try out within my film using both still images and moving images. The film has also encouraged me to try and colour my film in black and white as I liked how it appeared on screen and the emotional impact it had on me as an audience. I wasn’t overwhelmed with colour, was able to easily focus on the narrative, and was struck with emotion through the use of powerful images. Within the film, close-ups are used, which I felt, alongside the black and white colouring, was incredibly powerful and forced you to confront the man’s memories head on. 

Figure. 3 Film Still from La Jetée (1962)

I used the presentation I had made to pitch my idea to lecturer, Katarina Sengstaken. 

Figure. 4 Fiction Adaptation Pitch Feedback

In response to Kat’s feedback on my pitch, I created a storyboard, incorporating some of the possible shot ideas I had used within the presentation/pitch I had made. With the film being about the impact of sexual assault and the senses, I wanted to experiment with a variety of shots. With experimentation in mind, I wasn’t entirely sure of all the shots I wanted to do, so made a preliminary storyboard with some of the clear shot ideas that I had. I felt as though the sequence of shots and types of shots would become clearer during filming and in the editing process. Some examples of the types of shots that I included within the storyboard are a close up of the female actor sleeping in bed and a tracking shot of the female actor walking down a road. Close-ups allow for the audience to gain an insight into the character’s world and adds emotion to the scene (Masterclass, 2021). 

For future projects, I would try to have more of a clear idea of all the shots I want to achieve and aim to create a clearer storyboard. 

Figure. 5 Fiction Adaptation Storyboard

I looked at shots with higher contrast lighting and inputted them into my moodboard. In order to figure out how I would achieve this, I spoke to Sam Creamer (Lecturer and Technical Tutor), whereby we both agreed that tungsten lights would be best to achieve a high contrast look. 

When thinking about the ending of my film, I have been researching short films that deal with the topic of sexual assault as well as short films that deal with other sensitive topics and looking at how they end. For example, the short film, (BLOOM, 2020), ends with two individuals crying with a voice over of people saying “It was not your fault” (BLOOM, 2020) in unison. Another example I looked at for an ending was the short film, (Sexual Assault Short Film by Andrew Parnell. . PSA, 2017), which ends with the victim crying and statistics about sexual assault and the lack of justice for those who have experienced it. When it comes to the ending of my film, I am going to choose the message that is left with the audience during the editing process so I can see what feels right when I have all the footage and know how the piece is going to be edited together. As this is a sensitive topic, I want to ensure that care is taken and the ending fits the footage and story. 

In addition to watching short films about sexual assault, I researched sexual assault and the impact it can have on people, as well as drawing from my own experience of being sexually assaulted. Flashbacks, anxiety, and paranoia often occur within those who have experienced sexual violence (The Survivors Trust, 2021), and these were some of the impacts that I wanted to convey within the film. 

During the shooting of the film, I will think carefully about the shot sizes, particularly in terms of the emotions that they can convey. The main type of shots that I want my film to consist of are close-ups as they will allow for the audience to be drawn into the emotions and experience that the character is feeling within the film (Masterclass, 2021). 

In future presentations, I will think about referencing the materials used within it so that the cast and crew are able to easily refer back to the inspiration and seek out similar research materials from the ones that I have provided. 

Bibliography:

“BLOOM” - A sexual assault short film (2020) [Online Video] At: https://www.youtube.com/watch?v=kHAEo0ypspQ&ab_channel=EllaFields (Accessed 04/12/2021) 

Britannica. (2021) Film - Colour and black and white. At: https://www.britannica.com/art/motion-picture/Colour-and-black-and-white (Accessed 12/12/2021)

Fig. 1 First Moodboard Slide for Fiction Adaptation (2021) [Google Slides, Screenshot] At: https://docs.google.com/presentation/d/1ufoJgmnFIgebGFKVmYcPERnKtRNsCW3_Nwdirq0NJJM/edit#slide=id.gfbfcd89b35_0_103 (Accessed 12/12/2021)

Fig. 2 Second Moodboard Slide for Fiction Adaptation (2021) [Google Slides, Screenshot] At: https://docs.google.com/presentation/d/1ufoJgmnFIgebGFKVmYcPERnKtRNsCW3_Nwdirq0NJJM/edit#slide=id.gfbfcd89b35_0_103 (Accessed 12/12/2021)

Fig. 3 Film Still from La Jetée (1962) [Film Still, Online] In: La Jetée. France: Chris Marker

Fig. 4 Fiction Adaptation Pitch Feedback (2021) [MyUCA Tutorial Log] At: https://myuca.uca.ac.uk/webapps/lobj-campuspack-BB5d11c85256e5e/launch/setupForm.form?course_id=_17926_1&contentId=_370398_1 (Accessed 04/12/2021)

Fig. 5 Fiction Adaptation Storyboard (2021) [Storyboard, Screenshot] At: https://app.milanote.com/1MPTj416l3E00o/fiction-adaptation (Accessed 12/12/2021)

IMDB. (2021) La Jetée Film Description. At: https://www.imdb.com/title/tt0056119/ (Accessed 12/12/2021)

La Jetée (La Jetée, 1962) Full Film (1962) [Online Video] At: https://www.youtube.com/watch?v=fU99W-ZrIHQ&ab_channel=MatineeShow (Accessed 03/12/2021)

Masterclass. (2021) Film 101: What is a Close-Up Shot? How to Creatively Use a Close-Up Camera Angle to Convey Emotion. At: https://www.masterclass.com/articles/film-101-what-is-a-close-up-shot-how-to-creatively-use-a-close-up-camera-angle-to-convey-emotion#what-is-a-closeup-shot (Accessed 12/12/2021)

Sexual Assault Short Film by Andrew Parnell. . PSA (2017) [Online Video] At: https://www.youtube.com/watch?v=5HkyrUFlkV8&ab_channel=CreativeDrew (Accessed 04/12/2021)

The Survivors Trust. (2021) The Effects of Sexual Violence. At: https://www.thesurvivorstrust.org/the-effects-of-sexual-violence-how-to-support-a-survivor (Accessed 04/12/2021)

Fiction Adaptation - Pre-production Paperwork

Pre-Production Paperwork

With this being a highly independent project, I took on the roles of Producer, Director, Editor, and Covid-19 Supervisor. 

Initially, I wanted to shoot myself but after some thought, I realised that this would be harder to achieve and not necessarily fitting of the unit descriptor in the Fiction adaptation handbook, which states that “All cast… to be sourced outside of the course” (Rymer, 2021). With this in mind, I used social media to conduct a casting call as well as asking for crew who would be willing to help out. I got multiple responses and was able to find my cast and crew as a result of this.

As I want the short-film to be based on a true experience that had happened to me when I was 19, I wanted to find an actor who was of a similar age to that. Out of the people that responded, I felt that Charlotte Sparkes (she/her) was a good fit for the role. She fitted into the age bracket that I was after and has previous acting experience. In order to be able to use the footage of Charlotte for my short film, I had to get her to sign a consent form.

Figure.1 Charlotte Sparkes’ Mandy Profile (2021)

With regards to the crew, it didn’t matter how experienced they were, as long as they could get stuck in. However, I wanted to ensure that my crew was made up of at least one woman aside from myself as in the film industry, men outnumber women one to four in key roles (Wheeler, 2020). Out of those who responded, I selected Gabriella Niles-Ewen and Sophie Parker, who are both currently studying film studies degrees. They both took on the roles of co-directors and camera operators. Through having extra crew, particularly crew who study film, it will be useful in gathering different perspectives and is a chance to collaborate with others outside of the course. 

Before the cast and crew agreed to be involved in the short film, I asked them whether they were comfortable being involved, considering the sensitive nature of the topic. They all agreed that they were okay to take part. 

I set up various meetings with the cast and crew to discuss the project. Prior to these meetings I sent them a powerpoint presentation I had made in order to give them an idea of what I was wanting to achieve. Within these meetings, we discussed what it was I wanted from them 

Through conducting these meetings, I learnt a bit more about how an actor works. Charlotte asked me various questions such as, what is the emotion I want the character to portray. Through being asked these questions, I learnt how some actors get a feel of their character, I also learnt that there are many questions an actor poses in terms of the meaning of/behind their character (Cannon and Gardner, 2009). I allowed the cast and crew to ask any questions they had and emphasised that they could ask questions and make suggestions throughout the whole process, from the pre-production process right through to the post-production phase.

In terms of costume, I wanted to ensure that Charlotte was comfortable throughout, particularly with the nature of the film. For the bedroom scene, I asked if she could wear something that she’d wear to bed (e.g. pyjamas). For the everyday scenes, I asked Charlotte if she could wear something she’d usually wear. As the character is of a similar age to Charlotte, I felt that the clothes that Charlotte usually wears in her day-to-day life would be fine as a costume. Finally, for the bathroom scene, I asked Charlotte to wear a preferably strapless swimsuit. Before I asked her to wear a swimsuit, I checked with her to see whether she was okay with this, which she was. 

It is important to feed your cast and crew, especially when they’re working for free (Sengstaken, 2021) so, prior to filming, I asked the cast and crew whether they had any dietary requirements and any preferences for food. From doing this, I learnt how to organise food for cast and crew. With covid in mind, I planned the food around that, ensuring that I had individually packaged food, so that contamination was avoided as much as possible.

To ensure that the days we were shooting ran smoothly, I created and provided everyone with a  call sheet: https://docs.google.com/document/d/1xh0F_WKzJ-g7l6n9hnyvtoJzQmA1Zqyn5cb6gkB2ZWM/edit (Potter, 2021). When creating this call sheet, I based it on the one that was provided on a shoot that I worked on a few weeks prior. A call sheet will enable the day to run more smoothly and allows for the cast and crew to know when they’re needed on set (Maio, 2019). 

Figure. 2 Call Sheet for Fiction Adaptation (2021)

As Producer, I selected the locations for the shoot and completed risk assessments for each location. I selected the locations based off of the research I did and the type of shots I wanted. The locations that I have chosen are as follows: a bedroom in my house, a bathroom in my house, Tooting Bec Common, Earl’s Court Station, Westminster Bridge, and Vauxhall Bridge. For me the most important locations to film at for my film were the bedroom, the bathroom, the street, and Tooting Bec Common as I felt that I could link them together more easily and gather more footage from. I’m not entirely sure how the whole project is going to piece together until I am able to experiment in the editing process, so have chosen some back-up locations just in case. 

Figure. 3 Possible Location Ideas for Fiction Adaptation (2021)

Links to the Risk Assessments:

https://ucreative-my.sharepoint.com/:w:/g/personal/1903408_students_ucreative_ac_uk/EZ_2XRRICTFIgFSrrMmn_UMBRL9dtADZ-uONtdHwQBulpQ?e=G025Oh

https://ucreative-my.sharepoint.com/:w:/g/personal/1903408_students_ucreative_ac_uk/EW1I-ot_Q9pHoY0YynGfwyUBnZnDoiiHGHmu07rJQWiffQ?e=Ml6t4r

https://ucreative-my.sharepoint.com/:w:/g/personal/1903408_students_ucreative_ac_uk/ER-sDdzk3UtGh8kgtc05hf4B6ibgku-Yv1UXNj6cBE5SCA?e=8KHj0k

https://ucreative-my.sharepoint.com/:w:/g/personal/1903408_students_ucreative_ac_uk/Ef-JAARxyL5GrAGPRqrazQEBAMYkeTusoynpw-jhlGEZQg?e=gNMQtl

https://ucreative-my.sharepoint.com/:w:/g/personal/1903408_students_ucreative_ac_uk/EdkTyj6oPE1NsDyUGO7raFEBB700VnIH1jZX7sg_E0Vlwg?e=Fl7EdU

https://ucreative-my.sharepoint.com/:w:/g/personal/1903408_students_ucreative_ac_uk/EXrZFMctQjFAsJ53IahlhKwBwuX62nOavGQdF4KSscymQg?e=74NDa0

When it came to booking equipment, I had to make sure that all of my risk assessments were signed off by Laura Coull (Production Coordinator) before I could book kit out. I wanted to use a DSLR to film on as it is easier to transport and maneuver than a Panasonic AG DVX200. I spoke to Sam Creamer (lecturer and technical tutor) to ensure that I got the right equipment and then booked it out. As I wanted high contrast lighting, Sam and I agreed that the tungsten lights would be best suited. As my shoot is going to be handheld, I decided that a fig rig would be best; however, as the fig rig wasn’t available, I opted for the shoulder rig instead, which will still enable me to get the handheld shots I want. As this unit is experimental, I also booked out a few different lenses to try out. 

Figure. 4 Lens Booking

Bibliography:

Cannon, D. and Gardner, L. (2009) ‘Character building and what makes a truly great actor’ In: The Guardian 09/05/2009. At: https://www.theguardian.com/stage/2009/may/09/character-building-great-actor (Accessed 04/12/2021)

Fig. 1 (2021) Charlotte Sparkes’ Mandy Profile (2021) [Mandy, Screenshot] At: https://www.mandy.com/uk/actor/charlotte-sparkes-1 (Accessed 04/12/2021)

Fig. 2 (2021) Call Sheet for Fiction Adaptation (2021) [Google Slides, Screenshot] At:https://docs.google.com/document/d/1xh0F_WKzJ-g7l6n9hnyvtoJzQmA1Zqyn5cb6gkB2ZWM/edit (Accessed 04/12/2021)

Fig. 3 (2021) Possible Location Ideas for Fiction Adaptation (2021) [Google Slides, Screenshot] At: https://docs.google.com/presentation/d/1ufoJgmnFIgebGFKVmYcPERnKtRNsCW3_Nwdirq0NJJM/edit#slide=id.gfbfcd89b35_0_103 (Accessed 04/12/2021)

Fig. 4 (2021) Lens Booking (2021) [Siso, Screenshot] At: https://ucreative.siso.co/roc/ui/my-bookings.php (Accessed 04/12/2021)

Maio, A. (2019) What is a Call Sheet? The Essentials for a Smooth Production. At: https://www.studiobinder.com/blog/what-is-a-call-sheet/ (Accessed 04/12/2021)

Potter, E. (2021) Fiction Adaptation Call Sheet. At: https://docs.google.com/document/d/1xh0F_WKzJ-g7l6n9hnyvtoJzQmA1Zqyn5cb6gkB2ZWM/edit (Accessed 04/12/2021)

Rymer, M. (2021) Fiction Adaptation Handbook. (1st ed.) Kent: University for the Creative Arts. At: https://myuca.uca.ac.uk/webapps/blackboard/content/listContent.jsp?course_id=_71100_1&content_id=_1142002_1&mode=reset (Accessed 04/12/2021)

Sengstaken, K. (2021) Fiction Adaptation Lecture Series. [Kent: University for the Creative Arts 26/11/2021]. 

Wheeler, A. (2020) ‘More women than ever working in film - but men still dominate key roles’ In: The Guardian 02/01/2021. At: https://www.theguardian.com/film/2020/jan/02/women-film-industry-hollywood-2019 (Accessed 04/12/2021)