Showing posts with label OUDF503. Show all posts
Showing posts with label OUDF503. Show all posts

Wednesday, 26 March 2014

How ‘Remorse’ could be a trans-media subject



In all honesty, I feel the film is however great just the way it is. Robert Rodriguez argues the point of changing subjects when adapting things into trans-media when describing why he made Sin City such a faithful adaption in the book  Sin City: The Making of the Movie: “I could rewrite it and change it completely and turn it into something else, but why? You’re not making it better, you’re just making it different, and it was so goo just the way it was.” This, without sounding big headed, I feel applies to our film. It is beautifully honest and true and I feel that is integral to it success, appeal and effectiveness. However, I will indulge the few ways this could be done in other media. 

One, would be a graphic novel. As a medium that is aimed at adults that teenagers often have a huge interest in this could be a good way of targeting an audience for the subject. This would obviously have no sound (unless it was a web-comic), but could benefit by having a touching monologue, which we felt wouldn’t work in the film. This could even be just as honest as the film and be like a journal, where the monologue is the exact writing, and the comic would unravel the life of the character. It could however, have nothing but imagery, such as a page in a Marvel comic Ultimatum: X-men/Fantastic Four, where it is revealed The Thing attempts self harm. Though this is not gone into detail (enough in my opinion) it does display more emotion in the troubled character than is often displayed in other comics when he’s just portrayed as ‘down.’ This shows him as a more thought out suffering character who feels far more human now and certain audience members really feel they can relate to him, making his story far more interesting. This I feel would be a good way to correlate the problem where there is more professional control to tell the story you want to tell to no constraints. 

Another idea would be to develop it into a video game. This I feel could never be a AAA title, but as an indie game, such as Gone Home, where you play as a concerned family member finds this out by exploring the house that reveals these secrets. As this is such a personal story the attachment users start to feel for the characters in this title would definitely benefit the experience of a game similar, but may even be more effective. In Gone Home the user finds out that their sister is a lesbian who is struggling trying to make her parents understand, and considering joining the army like her girlfriend. To have the same level of attachment and find out something like a family member is self harming, I feel would be even more effective, and if reading the journal, like you do in Gone Home, would really allow users to understand the mindset of a depressed person. This also would make users to imagine a family member of theirs suffering and as being an interactive medium this may help bring the subject home.

Even a book may be an effective may this subject could be placed in as a trans-media subject. A book that, like a graphic novel, could simply follow the diary, or like the video game, have a character find this out about someone else. It could tell the story of the character and have him narrate the book but personally I feel there are better ways for this to work. Out of this selection for a book, I feel the journal is the best option. Readers could more easily get into the mindset of the character and may be able to relate and be more understanding when confronting the problem in their lives.

The film could also be interoperated as web-isodes, where a section of the story is released every week, and the users could even decide what could happen to the lead character. This might be and effective way of displaying it as if the audience really engaged with the series and kept of watching for a lengthy amount of time, a greater bound and attachment can be made so when they notice someone suffering from this in the real world, they would be more comfortable and confident with approaching the subject as they will have a clearer understanding of how that person is feeling. They may even feel a want to help because they understand how it can affect people and if they can see the signs of it, they could help stop it before it gets worse. 

It could even be exactly how the film it is, but released to self harm charities to help raise awareness. This could be a very effective idea as it would help be able to take a very negative experience and give it a silver lining, by allowing it to be a film to help others who suffer from it. We have already had extremely positive feedback from the film, and feel every faith it has the possibility to do this, and idea we may later explore.
To conclude, I do now feel there would be other ways of telling this story, but it adapting it to different media would be something that could very easily compromise the films integrity if no done with the same level of passion and honesty as the film was. I would like to say the graphic novel would be the best way of doing this, but purely because of Gone Home I feel a video game may well be the best option. Arguably the point in trans-media is something doesn’t have to be constrained to one media, but unfortunately if telling a true story in its most honest sense, there would only be so many times you can re-tell it before it loses effect, unless the story is really dragged out over a long periods of time or told far less honestly, which I feel wouldn’t be nearly as effective.

Monday, 24 March 2014

Responsive: Evaulation


The first thing we did as a group was sit down and come up with a wide range of ideas, even though it was evident from the start the story we would tell. We explored anyway, but the result was enviable, our film would concentrate on the personal and under looked by society subject of self-harm.

I will largely evaluate what my role was and what I brought to the group, to give an understanding of what I contributed and worked on. As did the rest of the group, we each looked at five films which were either true stories, like ours, our told the touching story of a character struggling with a personal issue. Mine were American Gangster, The Wrestler, Trainspotting, I’m not there, and the last King of Scotland. The one we took most inspiration from film making wise was The Wrestler, as it often uses tracking shots of the character and contains an emotional close up scene when the character confess’ his flaws, in a very well scripted and acted scene.

After looking at the moodboards, I produced some concept art of the character costumes, though they were already seen in photos making this a somewhat pointless exercise, I produced them anyway, but wasn’t overly found of them as I knew what I was doing wasn’t really worth while. It did however show the whole costume which some of the photographs didn’t, but in all honestly my time could’ve been better spent while doing this section, which we all came to realise after I had produced them.

I also looked at some audio considerations with Meg, writing up which songs would work best and why, either with relating lyrics or effective sound. Ultimately, we decided original sound would be best, so I got in contact with a musician (Tim Richards) I was recommended to recorded the track, liaised with him what kind of music we were looking for, sent him the animatic and let him know the deadline. We talked often to make sure the music was right and were very pleased with the final outcome, so much so he is now working on the audio development for our next project.

What I found my most difficult contribution was the planning. I was in charge of filming dates and organising locations, all apart from the Student Medical practice, which Callum organised. I got in contact with Stuart Harvey, a tutor on the foundation level at Leeds College of Art who was very helpful in helping organise and letting students know about our filming date and intentions, and to get in contact with us if they wished not to be filmed, he also added that my proposal was very professional and impressive. I then got in contact with the pub/night club Fab Café, so we could shoot in there. I organised this around a time that was more convenient for the managers, staff and customers of Fab Café. Finally, I organised a very tight schedule to film of a train, train station, and then four different areas of Hebden Bridge all to be in a day and arrive back in Leeds for the filming at the Student Medical Practice the following afternoon. I also produced full Method Statements for very shoot, including the cast, crew, times, dates, equipment list, prop list, and schedule for said shoot. I also produced risk assessments for each shoot but as I was the leading actor, many of the risks related to me (such as giving myself a paper-cut), which I knew I as comfortable with, but these also considered damage to college property, and risks that could affect crew.

The last and one of the most pivotal roles I played was being the lead actor. Our director wanted pure honesty, many of the cast were already the same people who were actually there, but as he wanted to concentrate on directing and capturing the imagery perfectly from behind the camera, he wanted me to act as past him as we are twins and look very similar, so this would not jeopardise the fact that what is displayed on screen will show visually what exactly happened.

Taking this role was something I did without second thought but doubted later. I am not an actor, and only have experience in films I’ve made, that have never required this degree of emotion. Also, if my performance was not convincing I could ruin a very personal film that Callum wanted, with good reason, to be made perfectly. I practiced some of the things I would have to do, but as there was no dialogue it did made my job infinitely easier. I looked at some actors I felt excelled in acting with subtly facial expressions, such as Michael Fassbender in Shame, though he doesn’t say much his emotions are clear. Though my performance was not nearly this standard, it did help try to bring a performance that was worthy.

Thought some scene were easier than others, physically on of the hardest was the fight scene, as choreographing had to be changed on location as it looked unrealistic, and started with my back to the other actor, so I couldn’t see where the punch would be exactly coming from. But there were worse ones. The scene where his wounds are revealed to a girl at a party required subtle expressions of shame, embarrassment, humiliation, sadness and anger. Naturally I managed to make my eyes water, and I think this was one of the best acted scene, only second to the next. The bathroom scene was the most difficult. Silly as it sounds, we had a plate of chopped onion as they makes my eyes water, so between cuts I would smell onion to make them water, but after a while this seemed to loose effect for a reason unknown, perhaps my sinuses became accustomed to the smell, and the tears rolled less. I’d like to pretend they were all well acted and faked but it would be a lie.

In conclusion, this ambitious twelve minute film I feel has been our strongest yet. It has been extremely well received, and we’ve had a huge amount of positive feedback, sometimes even from people we don’t know. This gives me the confidence to send this to self-harm charities to help raise awareness, but this decision I would ultimately leave to our director, as it is his story to tell. I am extremely proud of our group and friends for making it possible, including all the special thanks to outside resources for letting us film in certain locations. Everyone involved has worked very hard to have this story told right and put in more than the required time. Everyone has been very respectful of the subject, although me and Callum seem only to be able to makes jokes of the situation in all honesty to hide the fact that its not something we like to discuss.

Saturday, 22 March 2014

Responsive: Final film

This is the 2 minute version, handed in as a response to the D&AD brief. Though I like this, I don't feel it is nearly as effective as the long 12:13 edit. As it uses the same music and shots that are in it, I will review the whole film, as fitting such a long story into two minutes doesn't correlate the as well or as effectively in my opinion, and I also feel the music isn't as fluid as it seems to jump a lot, as it was recorded for the 12 minute peice. This is the link for the 2 minute version:
http://www.youtube.com/watch?v=MYEbMvH-6VE

The long edit, I am immensely proud of. I feel it is a touching piece of film that was ambitious and went beyond the work required, that could have been difficult for the film makers involved, as well as being extremely challenging in a way we've never experienced. Once viewing the final film, I feel it is clear why we felt a long edit was necessary to make. A personal story or film that is this sincere and honest needs to be told right, and to put restraints on it inevitably will damage the quality and pureness of the film, and when a film maker wants to tell this story right in his vision, I feel giving him guidelines to follow is too controlling, but perhaps this was our fault for picking it as a subject when already knowing the brief requirements. Either way, we made a long edit anyway and the film has flurried for that decision. For the first time we have also had sound made specifically for our film, a decision that also was great as the sound has worked beautifully and made the film far more original. This, in my opinion, is our greatest work to date. Here is the link for the long edit of 'Remorse:'
http://www.youtube.com/watch?v=wIy9RL07_kk

Wednesday, 12 March 2014

Photos of Shooting

Here is the photos from our shooting, credits to Sophie Kirk for the documentation/photographs. I feel it shows how hard every member of or team worked throughout each shoot, as well as the difficulties of shooting on some of these locations, for example the amount of space on the train. It also shows how many different places we traveled to for different scenes.

I am excited to see the result of this film, as the filming has turned out very well with all cast, crew and extras being professional and efficient at all times. The footage is something to be very proud of indeed, and I have no doubt the film, even if placed exactly like the anamatic, will be an extremely touching and effective piece of film.


Wednesday, 5 February 2014

Planning: Day 4 of Filming: Method Statement + Risk assesment. 4:00pm - 5:00pm - March 10th

 By Stuart Brown

This shoot ideally was going to be shot in Fab Cafe - leeds, and due to the helpful mangers we got the exact location we had hoped for.



Method Statement

Video Filming



Fab Cafe - Location



5:00pm – 6:00pm Monday March 10th



Involves Scene 9



This shoot should require team to be on set a maximum of  1 hour, though in likeliness we will be there no longer than 30 minutes. It is simply one shot of the character kissing a random girl on the dancefloor, in a montage of flashbacks. This shot should last no longer than 10 seconds.



All members of the team will be pre-briefed on conduct and safety procedures and exits before shooting and will adhere to the relative host’s requirements under Health and Safety.



Due to the nature of the drama being shot and our planning, the actors will wear planned but normal clothed costumes but no safety equipment will be required.



There will be no alcohol consumption from this team whilst under my supervision. Once my team departs if any crew wish to stay they may as Fab Cafe customers and can then consume alcohol.



The team will be designated as (people):



Actor  – Stuart Brown



Actress  - Meg Sugden



The Director – Callum Brown



Camera operator - Liam Cooper



Make up artist – Meg Sugden



Hair artist – Callum Brown



Documenter – Sophie Kirk



Equipment:



1x 5D Camera



1x batteries



1x Camera Tripod



Props



1 x wig



Schedule



1.       Team arrives at location for 5:00pm.



2.       Team is briefed of emergency exists.



3.       Crew set up equipment (Camera and tripod)



4.       Scene is shot.



5.       Team departs.



Leeds College of Art - Risk Assessment

Film project manager – Stuart Brown - SB (student) – mobile – 07581498917 email - Stuart Brown sb102262@students.leeds-art.ac.uk

Student filming at Fab Cafe - Leeds –  activity due 5:00- 6:00pm Monday 10thth
March 2014. Method statement attached.

Hazards
Who might be harmed and how?
Control measures

SB to record full crew/actors list + to  brief crew/actors to ensure appropriate behaviour for filming activity.
Further action:
Do you need to do anything else to manage this risk?

SB is the activity manager & to take charge/control as required.
Wet flooring.
Cast and crew.
Check floor before shoot. Ensure staff have mops and wet floor signs available.

SB to check filming environment and be responsible for safety.
Glass on set.  
Anyone.
To minimise risk of spillage that may inconvenience staff and breaking glass accidently, crew will not consume alcohol on site. No crew will have any drink in glass whilst filming.
All crew will be notified to be aware of customers of Fab Cafe and to mind their surroundings.
Trips and falls.
Any crew or public member falling. Damage to College property.
Notify members when equipment is assembled, disassemble immediately after use. (Tripod +Camera). All crew will be notified of how to hold equipment, and told how to hold cables correctly and safely so wires are not easily caught or tripped over.
SB to check camera and cables once set up is in place.
Equipment going missing.
College resources.
Member of crew will be designated watcher, CCTV is also on.
Vigilance by all crew + Equipment will be checked arriving and leaving location.