Category: Fiction Project

As Far As It Takes

For this task you are required to create a short fiction production for entry into the 2013 Inspire Film Festival.

In order to assist you with your idea your lecturer will provide you with three key components; an item, a location and a phrase. It is important that these components are effectively included in the narrative and also that they have a significant contribution to the structure of the narrative. For Example, the item should have a key role in the narrative and not just be on show in the background – it needs to be there for a reason. Secondly, the location needs to be used for a reason, not just part of the background with no significance – any location could be used. Finally, the phrase needs to be a key part of the script, so not just a radio recording in the background or a conversation by two extras.

“So how do we proceed?” Firstly you need to come up with an idea for a short fiction film. This will require research, planning and the development of a script (in an appropriate format). Once you have an idea you will be expected to pitch your proposal. This can be conducted in a variety of ways and the choice is up to you – video pitch (KickStarter style), PowerPoint presentation or and audio recording. Whichever choice you make your proposal should be accompanied by a paper based written proposal.

Once your pitch/proposal has been delivered you will then be expected to continue with your pre-production, production and post-production –providing evidence of the progress you make and also keeping an up to date Reflective Learning Journal (RLJ).

Your finished video should be between 5 – 10 minutes in length.


video pitch

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Above are release and consent forms from both of the actors that played a role in the video as well as the script and storyboard for As Far As It Takes.

To download the Script: Click Here

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I edited this video in Adobe Premier Pro CS3, Above is the completed first half of the video. It took two and a half  days to film. We also had to cancel a day of filming due to weather, and another day because the actors had prior engagements. Below is a bit of the footage (as there was loads) and I gave each clip a proper title I could remember while editing and I colour coded them from red to green based on quality. This helped the editing process and made it much easier to find and navigate through them.

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Below is a screenshot from Adobe After Effects CS5, where I made the gun a bit more realistic as it was just a toy guy. I gave it a muzzle flash and gave the gun a bit of a recoil as well. Since this little scene is a premonition, I played with the blue and green gamma to make it more of a dream like state. I also made a duplicate layer which I brought up the light areas in the frame using individual levels and then put a vertical fast blur with them. I blended them together and blurred the corners of the film using a mask. This effectively gave me what I needed for this scene.

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Criteria: 2.1, 2.2, 2.3, 3.1 & 3.2 


What does the spring mean to you? What images does it strike in your mind, make you feel and make you think?

For this task you will be expected to film two short sequences (one city based and one rural) that emphasise imagery associated with the spring. As well as filming you will also be expected to edit the two sequences together in way that identifies the locations as polar opposites but also emphasises their similarities…how you present this is up to you.

Each sequence should only be approximately (more then 30 seconds but less than 1 minute) a minute in length with the final production being no shorter than 1 minute 30 seconds and no longer than two minutes.

You can add audio of your choosing (copyright free is your best option) but please make sure that if you use copyrighted music that you clearly state who owns the rights. It is only expected that this piece will be broadcast via an online platform – YouTube, Vimeo etc…You will be expected to research and plan your productions and this should be submitted as evidence in an appropriate format on your Word Press blog.


For this Assessment task we had to capture the spring in England. This task was particularly difficult for me as being from California it gets pretty obvious when spring time comes around. The sun comes out in nothing but blue skies, and people start dressing for the warm weather wearing, shorts, flip flops, and sun glasses. This wasn’t the case in England this spring. It was snowing for the majority of the production and people were walking around freezing and all bundled up as if a blizzard was about to hit. Apparently this was the coldest spring England has seen in 50 years. It would have been easier to capture the winter. However the task at hand was to show spring time in England as it is and if it happens to be snowing then that’s just it.

I relied on mostly on imagery for the majority of this project. Since I couldn’t film the sun out and shinning, I thought flowers would be a nice alternative. When I think of spring I definitely think of flowers blooming. This was a mission though as there were not many flowers around, I had to hunt for quite sometime to film the ones I got in the end. They did end up really nice I thought (my favorite being the purple and yellow flowers). Also a major contribution to my video were the baby lambs I filmed, they  really make the audience know that this is spring time. I’m from the city so I didn’t know until I moved to this rural area of England that lambs were born in the spring time. This really helped convey the message of the season/time of year and also identifies that the country is a polar opposite from the city.

As for the shots I used such as the train, houseboat, and lady running you might ask what do they have to do with spring? I decided to put them into the video for there own specific reasons. The train shot was put in the video because I took the train down to London, and it represents the connecting factor that both cities and rural areas have, and it links them together. Though they are separate, they both are the same in a sense and have similar things about them. The houseboat floating down the canal was used because the houseboats name is patience and like springtime, England has to wait patiently for it. Also how the boat moves gradually down stream signifies that spring won’t happen over night, but only slowly but surely will it come. Patience is a virtue as some would say. Finally the last shot of a woman running in the park shows determination of  moving forward (leaving winter behind) and getting to the desired location (approaching spring).

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Treatment Budget

Download Edit Decision List For Capture The Spring

Download The Treatment Budget for Captue the Spring

Above is my edit decision list (EDL) for my capture the spring video. This also helps with the organization of the editing process by writing down the shots I want from certain clips, and the in and out points that I want to use from those clips . Also above is my treatment budget for making this video. As I did have to pay for transportation to get to my locations to film. Luckily I have family that lives in London so accommodation wasn’t an issue. I didn’t even have to pay for food which was really nice and saved me some money. Since I was the only one filming, I didn’t require a crew so that also saved me money there. Also the music I chose, John Fahey’s Sunflower River Blues, is not copyright free. This would be a problem if I was selling this work and making a profit from it. Since I’m not and I’m only broadcasting via Youtube it shouldn’t be an issue. Overall, transportation was my only cost to making this video possible, coming to a grand total of £66.00

Editing Capture the Spring

I edited this video in Adobe Premier Pro CS3. I did not have to make any proxies for my clips as I have my own computer with an external hardrive so memory wasn’t an issue. There was quite a good amount of clips in the end, so to make it easier I organized all of them by labeling them properly (naming them a title I would remember), putting them into there correct folders (Country/London), and I also colour coded them based on quality from green (great), yellow and orange (okay), to red (bad).Organization of .mov

Criteria: 2.2, 2.3, 3.1 &; 3.2 


You have been tasked to create a short film for the “if” competition. You are only required to make a short 3-minute production. However, as it is a competition, with prizes (and they are very good), you will have to stick to the competition guidelines and the terms and conditions (T & C’s) of entry. Please make sure you read this thoroughly, as any slight mistake could result in your production being disqualified from entry.

You need to enter into the “Drama Category” in order for this to meet the criteria of this unit. There is also a documentary category, and if you wish to enter this as well you may. However, if you create a documentary for the competition it cannot be used for this particular unit.

You can work individually, in pairs or in small groups – please read the T & C’s regarding group entries.

Please be aware of the deadline (Before 27th March) for submission and make sure that you provide yourself with ample time to submit your production. Additionally, examine the brief so that you know the mode of delivery of your production (online only) so that you are fully prepared to submit an entry. All this information is in the competition’s T & C’s

You will also be required to submit all the appropriate research and planning material you have conducted. Additionally, you will be expected to keep your Reflective Learning Journal (RLJ) for the entirety of the project, where you will chart the process and the progress, issues and achievements you have made.


Video Info: Benny Scrantz is worried about his destiny. He has a job interview tomorrow that determines his whole future. When he goes to bed he has a weird nightmare turned vision that explains that all he needs is confidence to get hired.

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For this project I used Adobe Premier Pro. We had 13 shots total and I labeled them accordingly and colour coded them either green, orange, or red depending on the quality of the footage. I did an edit decision list as well as organizing and labeling the footage as this in the long run make things a lot easier to find and put things together.

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I had to colour grade 2 shots (brushing teeth in mirror scene and also the bed scene) in Adobe After Effects, because we used the lighting kit to properly light the scene  and we shot mid day so there was a fair amount of natural light coming through the windows. Those scenes were supposed to be at night time so I did what I could by colour correcting and darkening the shots by playing around with the brightness, hue, saturation, curves, levels, and tint. I’ll admit I’m an amateur at this but I believe the two shots came out alright and work for what I needed them to look like.

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I used Adobe After Effects to mask Benny Scrantz (Bradley Thomas) in the scene where his brushing his teeth in the mirror, and also when he his having his vision/nightmare and he is talking to himself. This merged two clips together and created the illusion of 2 Benny Scrantz in a single shot.

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Criteria: 2.2, 2.3, 3.1, 3.2

Development of Fiction Production in Film and Television

How does fiction production create meaning and generate a response from the audience? How did fiction production begin and who were the key practitioners that develop and advanced the practice?

In order to evidence this task you are required to produce a series of documents. These documents can either be in a written, graphical or video format. Over the course of the academic year we have examined and analysed a variety of texts and practitioners throughout all our sessions, which will assist you in producing the required evidence.

The task is spilt into two parts (A & B).

Part A requires you to produce a historical timeline that charts the origins of narrative film form and also charts the origins of televisual narrative form. This can be done in two ways. You can either create two separate timelines or merge them together so that you have just one. How you present your timelines is up to you; you could create a written document that is structured in date order, a graphical timeline or a video based timeline that utilises still images, film and a monologue/voiceover.

Part B requires you to select two reports (each report needs to be 1000 words approximately) from the following two lists *. One choice should come from the Genre list and one from the Auteur list. The title of each report on the list will be the title of the report you produce. It is important for the report from the genre list to contain reference to a wide variety of genre specific films. Additionally, the report you choose from the auteur list should also relate directly to an auteur/s and wide body of their work in order to evidence your viewpoint. It is also essential that you make sure that all of you references are referenced using theHarvard Referencing system.

Genre List:

  1. Social, cultural and political changes that have influenced horror narrative form.
  2. The core narrative language of the Sci-Fi genre.
  3. Influences that have shaped the narrative of fictional television police dramas.

Auteur List:

  1. What makes an auteur an auteur?
  2. Key practitioners (past & Present) who advanced fiction production.
  3. The greatest auteur of all time.

*Alternatively, the report/s could be created as a voiceover of a newly edited video with comparative archive clips embedded or as an accompanying text/subtitles over/alongside existing video.



Film Timeline:

Film Timeline Voiceover


I thought it would be more practical to make a video rather than writing a paper because this is a media course and I should be making videos when I can. I edited this video in Final Cut Pro. I took all the video clips off of (which I referenced) and edited them into my video. I got a copyright free song from (which is also credited). I wrote my voiceover in Microsoft Word and then I recorded the voiceover in Quicktime and put them straight into Final Cut Pro.

Film Timeline Edit

folders and bins

Since I had a great amount of videoclips, pictures, and sounds I organized them by correctly by labeling them and adding them in their correct folders/bins. This saved me the hassle and time of finding the files, and made things a lot easier.


Television Timeline:


The development of television and its history postdates film by far, however the invention of television as we know it today was not created by one single inventor. It had many pioneers throughout history that contributed to its amazing advancement.  Without them it who knows what kind of world we would live in today?

Caselli_pantelegraph_imageIn 1862, Abbe Giovanna Caselli, one of the first television pioneers, invents the pantelegraph; a bit like a modern day fax machine, it transmitted still images electronically through telegraph lines. It could transfer messages and drawings with an area up to 150 by 100 Millimeters, such as the one pictured to the right. This was one of the first stepping-stones for television broadcast, as we know it.

nipkow_rcvrIn 1884, German inventor Paul Nipkow introduced the world’s first ever-mechanical television system calling it the electric telescope. He designed the idea by cutting images up and sending them bit-by-bit through the use of a scanner. It allows to sends images through wires using his 18 lines of resolution disc technology pictured left.

In 1906, renowned American inventor Lee De Forest patented the audion vacuum tube, which became a critical development for the television. The audion job was to take weak electronic signals and magnified them. This evolved and moved all televisions away from being mechanical to electronic.iconoscope-tv-camera

In 1923, well known Russian inventor, Vladimir Zworkin, designs and patents the first known television camera tube labeled the iconoscope pictured right. During this time the iconoscope became extremely widespread and prominent in the television industry.

jpgIn 1926, Scottish engineer John Baird creates a mechanical television with 30 lines of resolution running at about 5 frames per second. Baird constructed his idea from inspiration from Paul Nipkow’s scanning disc invention. Baird’s technology used different varieties of transparent rods to broadcast his moving silhouette images on televisions. Baird is credited as the first person to televise a human face pictured left.

In 1929, Vladimir Zworkin devises another milestone and develops the kinescope, which was the earliest device to record television. The kinescope recorded projected 35 mm film from an external monitor. This preserved some of the earliest broadcasted live television up until 1965 when the videocassette immerged.

In 1932, The BBC commenced their first television broadcast from London with 30 lines of resolution.  By 1937 new technologic advances makes the older ones obsolete and during this time the BBC begin high-definition broadcasts. In September of 1939 the BBC was taken off the air due to World War II. It wasn’t until June of 1946 that it began resuming.

In 1940, Hungarian inventor Peter Goldmark, while employed by CBS, innovates the television forever by making it colour.  It used about 343 lines of resolution and it functioned using an electromagnetic system, which held an iconoscope sensor.

In 1952, Charles Ginsburg and his engineering team who worked for Ampex Corporation in America introduced the first video tape recorder or VTR. This transformed live images from television cameras and changed the information into electrical impulses and saved them on magnetic tape.vg_greatestgadget_f

In 1956, Australian inventor Robert Adler, developed the first commercially available remote control for television pictured right. It was named the Zenith Space Commander and it made scrolling through channels less of a hassle. This helped further advanced television by making it more modern and easier to use.

On July 20th 1969 the first television transmission from the moon was made possible when Apollo 11 landed man on the moon for the first time. About 600 million people watched this as it was broadcasted.

Television is only a fairly new technological advancement. It took the brilliant work of loads of inventors from around the world and combined it to get what we have today. Without all their help and dedication we wouldn’t be nearly as progressed as we are today. Televisions of the future will undoubtedly advance, but most likely have added features to the existing ones we have today. There are many speculations to where the trajectory of television is heading, but one thing is inevitable, with major developments happening all around the world all the time, television certainly has a soaring future.


Mary Belis. (2013). The Invention of Television. Available: Last accessed 29 May 2013.

Julie Chauviere. (2013). The History of TV. Available: Last accessed 29 May 2013.



Genre List:

The Core Narrative Language of the Sci-Fi Genre.

This essay is targeted to examine the function of movie genre. To narrow it down, this research is more specifically going to focus solely upon the science fiction genre. Science fiction is considered one of the most creative and thought provoking movie genres around today. To correctly analyze science fictions conventions and its core narrative, this report will observe the paradigmatic shifts with historical, social, and culture transformations. To successfully do this within this paper, the analytic structure will chart three core films from three different generations of science fiction film history. This report will study Fritz Lang’s film ‘Metropolis’ (1928), Robert Wise’s ‘The Day The Earth Stood Still’ (1951), and Ridley Scott’s ‘Blade Runner’ (1982). Finally this essay will then be wrapped up by evaluating the findings of the research, to show accurately that science fiction reflects the time period and its society from which it is made.

In preparation of this analysis, it would be skillful to fundamentally understand science fiction and original themes and core paradigms. Science fiction is very similar to the fantasy genre, and its themes consist of imaginative storylines that trigger thought to their audience. However science fiction has always maintained a distinct and consistent plot, based upon one single thing, futuristic technology. Technology has been the key factor that defines science fiction films core narrative. Nowadays there are considerable amounts of hybrids sci-fi films, combined with other genres, such as horror or westerns.  Nonetheless any storyline in the sci-fi genre can relate back to technology in some form or another.

Science fiction gained popularity because it got viewers to profoundly contemplate the possibility of what could be. Sci-fi has always had a regular tendency to foreshadow highly advanced technology to come. Such as George Melies in 1902, who created the short film Le Voyage Dans La Lune about traveling to the moon.  However it wasn’t until 1969, that Apollo 11 first landed man on the moon. Another example is in Stanley Kubrick’s film, 2001 A Space Odyssey, which came out in 1968, but had a touch screen tablet called a news pad. When not until recently, in 2010, Apple released the Ipad, which is undeniably very similar in design. Seeing that this is a repeated occurrence, this is why most science fiction films are set in the not so distant future because it addresses the audience that this could potentially be a reality someday. This means the narrative for sci-fi has a large amount of scope to work with. Especially because no one can predict the future so we can only imagine and play with the idea of new technological advances.

As technology keeps advancing, it further expands and slightly changes science fiction narratives. Nearly all sci-fi films follow the narrative arc in some manner, just like most movie genres do. The exposition introduces and establishes the characters, setting, and mood. Then once the primary information is initiated, the story develops further and a rising action takes place, setting up the protagonist with a conflict to conquer. All conflicts in science fictions films can always relate back to technology in some shape or form, whether if it’s about invisibility, cloning, time travel, or alien invasions. Finally the narrative arc hits the denouement stage, where the conflict gets determined.  In some cases instead of a typical happy ending, the conflict is left worse than before and unresolved to gain a shock value and generate impression to the audience. This offers them a moment to reflect on the possibility that the ideas they have just witnessed are in actual fact conceivable. “Science fiction, is about what is neither impossible nor possible; the fact is that, when the question of possibility comes up in science fiction, the author can only reply that nobody knows. We haven’t been there yet. We haven’t discovered that yet. Science fiction hasn’t happened.”(Joanna Russ, 1995)

Fritz Lang’s ‘Metropolis’ (1928) was the first feature length science fiction film to date.  It was also one of the most expensive films ever made. The narrative takes place is the future in 2026. The movie’s set consisted of massive skyscrapers and the themes are based off post World War Two and imagery of the dystopian mega city, which gives the concept of architectural totalitarianism. The height of the buildings connotes the hierarchy of status where the powerful rule at the top and the lower class remain deep below ground level. The lower class people almost literally become machinery who serve the ruling class by working hard labor-ridden jobs in the poorest conditions. Their lower class appearance implies prisoners with shaven heads all under the power of the overbearing authority that controls them. This predicts the Holocaust and symbolizes Adolf Hitler’s anti-Semitic concentration camps. A real robotic human is constructed in the denouement stage and the lower class workers ban together and revolt by smashing up the machines that run the city.  The upper class are resembled as the brains while the lower class is suggested as the hands. In the end they two make alliances with the mediator of the ‘heart’, Freder the main protagonist, and a new era begins in solidarity.

Robert Wise’s film  ‘The Day The Earth Stood Still’ (1951), main themes signify paranoia about communists or reds under the bed, and the witch-hunt that was McCarthyism. Following World War Two, science fictions films main core themes during this era tended to be about nuclear threat and destroying the earth.  In ‘The Day The Earth Stood Still’ (1951), an alien comes to earth bearing the message that if earth continues to remains violent, the other planets will have no other option but to destroy the world, as it poses a major threat to the rest of the galaxy. This denotes how hostile earths society has always been, and signifies the arms race between superpowers during the cold war. The alien ship initially lands in Washington D.C, and the first thing the government does is send out the military with loads of weapons and artillery. The conclusion ends without resolution and the alien decisively flees earth, giving a final warning that the ultimate decision rests with the planet.

Finally Ridley Scott’s ‘Blade Runner’ (1982) portrays futuristic 2019 Los Angeles as a overly polluted environment that continuously remains dark and is habitually raining. Scott notions early in the introduction that reputable humans set off to live on distant planets, as earth is only a place for sleazy common people. Androids or replicants, illegally live among humans on earth and are tracked down and destroyed by the a police task force known as blade runners. They use a device called the Voight Kampff  machine that establishes differences between humans and replicants . The main core theme and context for ‘Blade Runner’ (1982) reflects the society of the era it was produced. People from this time became profusely skeptical with the corruption of the government with Margret Thatcher and Ronald Reagan’s hyper capitalist foreign policies. People also from this era were extremely fearful of mass unemployment. Scott denotes this within his film by showing an overpopulated presence of homelessness. He contrasts this with showing wealthy people remaining wealthy as well as corrupt.

It is noticeable that science fiction films demonstrate the era and culture from which it is made on. “Science Fiction does appear to be linked to change, mutation, or evolution”(Johnson, 2011. So does technology describe science fiction’s narrative as a whole? Well it is a bit difficult to define completely, but since every plot somehow correlates with technology one way or another. it is undoubtedly certain that technology plays a significant role in science fiction. Today society lives in a modern generation of all these technical breakthroughs, and it does not seem to be slowing down any time soon. If anything it is just getting ready to take off now. More and more cutting edge technology will come forth, making the previous model before it obsolete, with no foreseeable end in sight. “Science fiction is hard to define because it is the literature of change and it changes while you are trying to define it” (Tom Shippley, 1982). This means science fiction narratives will always evolve as technology transforms, thus creating infinite ideas with thought provoking plots.


1. Tom Shippley. (1982). Understanding what science fiction really is . Available: Last accessed 20th April 2013.

2. Keith M. Johnson (2011). Science Fiction Film: A Critical Introduction. London: Berg Publishers. 2.

3. Joanna Russ (1995). To Write Like a Woman: Essays in Feminism and Science Fiction. USA: Indiana University Press. 22.


Auteur List:

What Makes an Auteur an Auteur?

There is a theory in film known as auteurism, which is the belief that movies are distinguished solely by directors and their own vision and personal style for their films that they create.  Auteur derives from the French word, author, and like authors write books with their imaginations so should directors to their films.  They should have complete insight to the films they produce and almost all their movies should be recognizable from first glance. It’s their unique techniques that they use from pre to post production that make an auteur an auteur.

The auteur theory was thought up by main propagandist François Truffaut, who ignited the artistic French New Wave movement in the 1950’s. Truffaut, who was a writer then turned director, wrote an article in Cahiers du Cinema magazine called, A Certain Tendency in French Cinema. He stated that French cinema was dead because it was too literary and script led. He basically said, why not simply read a book or watch a play, if you want people just to talk? He wanted to legitimize film as an art form. “The film of tomorrow will not be directed by civil servants of the camera, but by artists for whom shooting a film constitutes a wonderful and thrilling adventure” (François Truffaut).

The most acknowledged to-date auteurs consist of Alfred Hitchcock, Steven Spielberg, and Quentin Tarantino just to name a few. Hitchcock was known for his suspenseful thriller movies with quick cuts and blonde women. Spielberg usually displays distinct concern for the well being of children in his films, and nearly all of his movies usually contain dysfunctional families. Tarantino is most known for his non-linear story line and his excessive use of violence and drug use in most of his films. All three of these directors have their own certain style, vision, and methods to their procedure of filmmaking which establishes them as great auteurs.  “Directors whose work expressed such a vision deserved to be called auteurs (Branston & Stafford, 1996).

Aside from the heavy-hitters, I believe that Spike Lee is one of the most under-rated, obscure and unrecognized auteurs around today.  It can be debatable that Shelton Jackson “Spike” Lee could be considered an auteur, but with enough evidence I plan to set the record straight.

Lee has his own production company, 40 Acres and a Mule Filmworks and this is why Lee’s work is so recognizable. One of the many defining techniques that Lee utilizes the most is using the subject of race as a tool in majority of his films. “Studying film at New York University, he was almost expelled after cutting all the racist moments from D. W. Griffith’s The Birth Of A Nation (1915) into a twenty-minute short” (Armstrong & Charity, 2007).

There are two very similar scenes that stick out the most when focusing on Lee’s work. One of Lee’s first movies Do The Right Thing (1989) has a scene where the actors break down the fourth wall with monologues directly to the camera demonstrating their hate for opposite races.

The second scene is just like the previous one only more exaggerated and amplified. It’s from The 25th Hour (2002), where the main character has a five-minute monologue with himself in a mirror, expressing the hate he has for all races.

Looking at both of these very similar scenes it’s undoubtedly accurate to say that Spike Lee has a specific aim and stance to his filmmaking. Most of Lee’s work is exceptionally controversial using these techniques of race relations. “Get on The Bus (1996) followed twenty black men on a coach trip to the million man march, and Jungle Fever (1991) asked if interracial romance was possible” (Armstrong & Charity, 2007). Lee being an African-American, has two major influences in his life that unquestionably affect his work. “The raw energy of his work comes from the friction of opposing forces: pragmatic compromise and militant separatism, the teachings of Martin Luther King and the teachings from Malcolm X” (Armstrong & Charity, 2007).

Another key point that marks Lee as an auteur is the fact that he uses the same actors and actresses in his films. This gives an overall feeling for Lee’s work and makes the audience understand the types of movies that he creates. Lee is also comfortable enough to even act in the majority of his earlier films. Most of Lee’s work is focused in Brooklyn New York, which also creates and defines his style.  Lee is also known for “ the disorienting change of lens in Crooklyn (1994), which gave his characters an elongated, hall-of-mirrors appearance” (Armstrong & Charity, 2007). All of these things are definite signs of a true auteur. Spike Lee is definitely passionate on the films he produces (especially Malcolm X , a film Lee said he was born to make).

It is argued all the time that the director is not the sole creator of films. The director cannot possibly do all this by himself.  So much work and so many people go into making a film such as actors, cinematographers, editors, special effects, music composers, the list goes on and on. How can the director surely have complete control over the film they make? Especially when so many people work and put input into it?

It will always be debatable but “In France the concept of the auteur is not dead, ‘authorship’ has survived as means of marketing films made by  ‘name’ directors” (Branston & Stafford, 1996). The name is like a brand or a stamp; People want a big name attached to films so they can relate back to the directors previous work. This can be argued that actors  are also auteurs because they get most of the credibility for films, as they are the ones staring in them. Nowadays big film stars are also put on movie posters with the director as the stamp to market the movie out to potential viewers. Nonetheless the auteur will always be a film term for directors and the consistent material that they stick their name brand too.


1. Gill Branston & Roy Stafford (1996). The Media Students Book. 2nd ed. London: Routledge. 353-372.

2. Richard Armstrong & Tom Charity (2007). The Rough Guide To Film. London: Rough Guides Ltd. 307.

3. Movieclips. (2011). Do the Right Thing (5/10) Movie CLIP – Racist Stereotypes (1989) HD Available: Last accessed 13th February 2013.

4. Namineofsilent. (2011). 25th Hour – Mirror Scene 720p. Available: Last accessed 13th February 2013.

Criteria: 1.1 & 1.2


For this task you will be working in conjunction with Performing Arts (PA) Learners. The objective of the task is for you to film two different scenes that involve directing actors for screen. As well as directing actors the pre-production, set design, soundtrack and post-production is also your responsibility. In order to document the process you have journeyed through you should keep a reflective learning journal (RLJ) – Task 6.

You will work in teams of 2 for this task. You will be expected to swap the director role on each production – act as the director on at least one production.

“So what are we filming?” You will be provided with a selection of scenes from a variety of films. You will then have to examine the original scene and then recreate it. However, you may if you wish, experiment with the scene you have been provided with and possibly:

· Set it in a different location to the original

· Change the gender/age of the characters

· Apply the scene to a different genre

· Change some of the shots that were used in the original scene

There is one restriction on the adjustment’s you can make to the original scene; you cannot adjust the original dialogue in any way. The original dialogue for the scene must mimic the original precisely. For this task you are required to plan, film and edit each scene.



I did a scene from Requiem for a Dream (directed by Darren Aronofsky) where the main character, Sara Goldfarb, is explaining to her son, Harry Goldfarb, why her red dress matters and why it’s important to her. Although I had to keep the tumblr_lkdk221mQg1qzdglao1_500dialogue exactly the same and was unable to alter it at all, I wanted to put a twist on this by changing the overall emotion from sad and down, to inspirational and moving.

Character Info: I wanted Sara Goldfarb’s character to have a very heartwarming and uplifting personality. She justifies why she believes the red dress brings her happiness and gives her hope. While still very emotional, she is very inspirational and is very encouraging while conveying this point.

Character Info: Harry (short for Harriet) Goldfarb, will be the daughter of the main character. She is very curious about her mother lifestyle and a bit (but not too much) aggressive towards her. She cares for her mother and wants to look out for her good intentions.

The original scene has no background music throughout it, but I decided to add music to my version, to help add emotion and give meaning to this scene. Below is the original scene from Requiem for a Dream starring Ellen Burstyn as Sara Goldfarb, and Jared Leto as Harry Goldfarb.




Ma, what is the big deal about the red dress?


I’m I’m going to wear it on…
Oh, you don’t know.
I’m going to be on television.
I got a call and an application and —


C’mon, Ma, who’s pullin’ ya leg?


No no no I’m telling you,
I’m going to being a contestant on television.
I don’t know when yet, they haven’t told me when yet,
but you’ll see how proud you are when you seeImage (4)
your mother in her red dress, television and
golden shoes.


What’s the big deal about being on television?
Those pills ya taken ‘ll kill ya
before ya ever get on, fa christ’s sake!


Big deal? You drove up in a cab.
Did you see who had the best seat?
I’m somebody now Harry.
Everyone likes me.
Soon millions of people will see me
and they’ll all like me.
I’ll tell them about you and your fatherImage (3)
and how good he was to us.

Harry nods. Defeated, he stares at the floor.


It’s a reason to get up in the morning.
It’s a reason to lose weight.
To fit in a red dress.
It’s a reason to smile.
It makes tomorrow all right.

Download the Script


I held auditions for the performing arts students to be in my recreation of my Requiem for a Dream scene.  I pitched my idea to the whole class of 26 , and I gave them the character info and their motivation for these roles.I was a bit nervous because I really didn’t think a lot of people would show up for my audition, but all in all I had a good turn out of about 15 people, 14 who were female, and 1 male.

I wanted to the audition to be private so the people auditioning would feel less intimidation from their onlooking peers. I chose a small blacked out room just next to the original room that everyone was in. The room was more private but it came at a price. This room only had 1 single light in it and was really dark. Even when raised the ISO all the way the picture was still dark as well as more grainy. I then had to colour correct the footage on Final Cut Pro to lighten the picture up. I could have quickly solved this problem by grabbing a light from the studio but I didn’t which cost me some extra work.


After reviewing my footage I made my first and second choices for who I wanted to act in my recreation scene. In the end I got my first choices for both of the actresses I wanted, who I thought best fit the role. I’m very happy to get the actresses that I preferred the most, because I believe that they will perform most suitably. Here are signed consent forms from both of my actresses for the video shoot.


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Above are a few pictures from my actual shoot on February 22nd 2013. I scheduled my kit on Monday the 18th of February, which included a canon 550D camera with a fixed zoom lens, a libec tripod, and a lighting kit (both soft and hard). It was all given to me around 12 o’clock by my instructor Paul, and I started to set up shortly after my lesson.

I did run into a few difficulties though. It took me and my partner, Frankie Burrows, a little more than an hour to put the set together. Who knew that would be the difficult part? So both of my actresses (Molly Lowe-Spicer and Anna Lowne) waited patiently while Frankie and I attempted to put the set up. In the meantime I had them fill out release forms and practice their lines. So first off there wasn’t a spanner in sight which meant we couldn’t secure the nuts and bolts. I searched high and low for one in the studio but could not locate one, it took about half an hour to obtain one from tony, which he found in the teachers lounge. Even with the spanner we were having difficulty with some of the nuts which wouldn’t fit right on the  bolts which was really frustrating. Also some of the set pieces didn’t fit together properly which was also frustrating and annoying. But we made dew with what we had.

I shot many takes to have a lot of footage to work with. I also wanted to experiment with a couple of things to enhance the inspirational emotion that I was trying to create. What I did was increase the lighting during the monologue at the end to add more to the effect of the uplifting scene. For the lighting I used a 65o watt diffused key light and the flo-light with a blue gel on it. This was done with help of  Pete Bendoris and Gareth Skinner, who took the time out of their own schedules to assist me which I really appreciated.


Picture 5
Picture 14
Above is a screen shot of me editing the scene together on Adobe Premier Pro, as well as my edit decision list next to it. The EDL made things quicker as once I knew what shots I wanted to use, all I had to do was put them in chronological order. Below is the fished final product of the recreation of the Requiem for a Dream scene, The Red Dress Matters staring, Molly Lowe-Spicer as Sara Goldfarb, and Anna Lowne and Harriet Goldfarb.

Criteria: 2.2, 2.3, 3.1 & 3.2 

Reflect on the Process and Final Productions you have Created

This task requires you to create a Reflective Learning Journal (RLJ) that charts the journey you have undertaken for the duration of the unit. You should comment on the process, discoveries, discussions with lecturer and your peers and other related information that has assisted you in creating your finished artefacts.

However, you must make sure that you reflect on your work (please refer to the lecture on critical reflective practice and utilise documentation guidance such as “Gibbs Reflective Cycle”) and do not just describe the process.

Your RLJ has no word limit and can be presented in a variety of formats (video, audio commentary, written). It is a tool for you to use to document the process and used to assist you in your future practice.

As well as reflecting on the process it is important that you reflect on the finished productions you have created. When reflecting upon your finished productions it is essential that you consider the success of the artefact in terms of technical quality and fitness for purpose in accordance with your original intentions and the assignment brief.

When reflecting on the production process and on your finished productions you should look to reflect upon the following, where appropriate.

Be Able to Reflect on Own Moving Image Production Work

Finished product

  • technical quality;
  • aesthetic quality;
  • realisation of aims;
  • suitability for purpose;
  • own contribution to product;
  • team’s contribution;
  • meeting deadlines;
  • audience feedback

Production skills

  • technical competence;
  • workflow and time management;
  • production management;
  • team working



Gibbs Reflective Cycle




Tuesday 5th of February 2013:

Today I held auditions for actors and actresses to be in my recreation of a classic scene, for fiction project assessment task 3. I am creating a new version of a scene from Requiem For a Dream. It’s about the main character Sara Goldfarb, explaining to her son why her red dress matters and why it’s important to her. I pitched my idea to the whole class of 26 first thing in the morning. Although we have to keep the dialogue exactly the same and are unable to alter it, I explained that I wanted to put a twist on this scene. I told them I wanted to change the overall emotion from sad and down, to inspirational and moving. I gave them character info and their motivation to audition for these roles.

I was a bit nervous because I really didn’t think a lot of people would show up for my audition, but all in all I had a good turn out of about 15 people, 14 who were female, and 1 male. I decided I would change Sara Goldfarbs son’s character, Harry, into a female named Harriet. This was my first ever cast-directing an audition. I believe I gained a lot of knowledge for how the interview process goes.

Even though I gained a lot out from this experience from this, I believe that there are some things I would have done differently. I wanted to the audition to be more private so the actor and actresses would feel less intimidation from their onlooking peers. I chose a small blacked out room just next to the original room that everyone was in. The room was more private but it came at a price. This room only had 1 single light in it and was really dark. Even when raised the ISO all the way the picture was still dark as well as more grainy. I then had to colour correct the footage on Final Cut Pro to lighten the picture up. I could have quickly solved this problem by grabbing a light from the studio but I didn’t which cost me some extra work. Next time I will be sure to to a recce of the audition room and if I need to book lighting in advance, I will do so.  Another thing I would have done differently is since I had a big group of people audition, I wish I would have told them to say their name on camera so I could put a face to their name. I did have them write their name and contact info on a piece of paper, and I could go back and see what order it is in compared to the footage I captured. This all could have been avoided simply by me recording their details by asking their name which would have been less time consuming and less of a hassle.

Today I took a lot from this experience, probably the most from my mistakes. These mistakes taught me what to do and what not to do for the next time I hold auditions. Tonight I will be reviewing the footage over from earlier and making my decisions on who I would like to cast for my scene.


Friday 22nd of February 2013:

Today I filmed my recreation of the Requiem for a Dream scene, the red dress matters. I filmed right after my lesson with Tony from 1 o’clock to 4 o’clock. All and all everything went okay. I got both of my first picks from casting, Molly Lowe-Spicer as the main character, Sara Goldfarb, and Anna Lowne to play her son, (or daughter in this case)  Harry Goldfarb. Both actresses showed up on time at 1:30, which was really nice. They even came in on their day off just to film.

I scheduled my kit on Monday the 18th of February, which included a canon 550D camera with a fixed zoom lens, a libec tripod, and a lighting kit (both soft and hard). It was all given to me around 12 o’clock by my instructor Paul, and I started to set up shortly after my lesson.

I did run into a few difficulties though. It took me and my partner, Frankie Burrows, a little more than an hour to put the set together. Who knew that would be the difficult part? So both of my actresses waited patiently while Frankie and I attempted to put the set up. In the meantime I had them fill out release forms and practice their lines. So first off there wasn’t a spanner in sight which meant we couldn’t secure the nuts and bolts. I searched high and low for one in the studio but could not locate one, it took about half an hour to obtain one from tony, which he found in the teachers lounge. Even with the spanner we were having difficulty with some of the nuts which wouldn’t fit right on the  bolts which was really frustrating. Also some of the set pieces didn’t fit together properly which was also frustrating and annoying. But we made dew with what we had.

I shot many takes to have a lot of footage to work with. I also wanted to experiment with a couple of things to enhance the inspirational emotion that I was trying to create. First I wanted to use a 2 metre track and slowly pan forward during Sara Goldfarbs monologue at the end of the scene. I didn’t get a chance to do this because my instructor Tony said that he had it and  to grab it off of him later, but I forgot and by then it was too late because he had left the campus. The second thing I wanted to do was increase the lighting during the same monologue and add to the effect of the moving scene. This was done with help of  Pete Bendoris and Gareth Skinner, who took the time out of their own schedules to assist me which I really appreciated.

Another problem that came about was, when I got home and reviewed the footage, I realized that the opening shot of Harry asking Sara “what the big deal is with the red dress,” was really blurry. My actress moves her head toward the camera while asking this and it gets pretty blurry. The funny thing is I told her to do this because this is what happened in the original scene. I should have played with the focus in then back out again. Oh well you live and you learn. Hopefully I can fix that, or if I have to use it, I hope people will think I did this on purpose.

My last problem that I ran into was, after reviewing the footage I realized that Sara Goldfarbs character is looking left when in the original she is looking right. I should have payed more attention to this while I was planning it, but for some reason this was overlooked. I guess it doesn’t really matter because all I had to keep the same was the dialogue, but this still would have been nice to have.

Looking at all the difficulties I had, and the mistakes that I had made, I’ve come to the conclusion that proper planning is the key avoiding these things. I know there is a flaw in this because some say nothing goes according to plan, but at least you are more prepared, and have a better understanding of what you need to do and what you must not do. Since I was bit rusty putting the set up, I could have practiced a couple of days before to see exactly how the pieces fit together. As for the missing spanner, I could have put one aside the day before when I practiced putting the set up to avoid wasting all the time looking for it. I should have been more persistent on getting the 2 metre track from Tony and less forgetful because who knows maybe the slow panning forward would have really looked nice and made the whole scene better. Also with the one beginning shot being really out of focus, I should have double checked that everything was set up properly, and made the proper adjustments focusing when my actress moved her head in towards the camera.

Overall this was a good learning experience for me. I’ve made some mistakes just as I had in the auditions and I’ve learned the most from them. Good thing I didn’t have to do this all by myself and I had my partner Frankie to help me. Also Pete and Gareth were a big support in lending me with a hand with setting up lights and giving me advice and pointers. Next time I will try my best to be more organized and to plan further ahead so that I potentially will have everything on point.


Friday 1st of March 2013: Update: After much consideration I realized that it would be the biggest mistake not to re-shoot my blurry footage of Harriet in the recreation of a scene of requiem for a dream. This time I made sure the camera was in focus and I even added in some background material as the blurry shots had nothing in the background and it was really dull and plain. Below are photographs from before and after.

Picture 4

Picture 6

This was a major success. The only thing I would have done differently was re-shoot Sara’s character again as she was looking the same way as Harriet’s character. This was a little bit confusing and takes away from the realism I thought. Other than this I was happy with the result of this unit and am glad that  that I’ve gained a lot of skills from this Assessment.



Monday 18th of March 2013:  For the If competition our lecturer Paul helped us out considerably with the idea and concept for our video entry. We hadn’t even had the slightest idea for what we wanted to film, we even didn’t even have partners so we all banned together to work on this assessment task.

Our group went and sat in Cafe Nero to discuss what we needed for our video shoot. Bradley Thomas brought a clown mask, and also borrowed his friends camouflage to use as props. I brought the nice collared shirt that Frankie Burrows wore toward the end of the video, the newspaper and the red marker.

We also talked about how the edit would be constructed together. We wanted to use jump cuts between between the clown, army sergeant, Benny Scrantz, and the normal interviewee. I had also come up with the idea to have Benny Scrantz brushing his teeth in the mirror while his reflection shows his true emotions about him being worried and nervous about his job interview. We decided to film the dream sequence in the studio and the bed scene at Bradley’s home in Asfordby. Originally we wanted to film the bed scene in a classroom but we realized it wouldn’t look realistic enough.


Tuesday 19th of March 2013: Today we successfully got all the shots that we need. We booked all the kit we needed including a canon 550D, tripod, and three-point lighting kit. It took us about 2 hours to film the dream sequence in the studio, and about an hour to film at Brad’s house. We all took the kit on the bus which costed £1.80 each way to Asfordby and then then returned it without any problems.

I am so glad we decided to bring the lighting kit with us to Brads house even though we had to lug it with us on the bus it was definitely worth it. If we didn’t brought it, our shots would have been to dark  and wouldn’t have looked nice at all. Today went really well and everyone came though to get this video shoot completed. I put all of the footage from the camera on to my macbook, as I am the one that is going to complete the final edit. The deadline for the competition is on March 27th so I have a little over a week to finish the edit with music and sound effects.


Monday 25th of March 2013: I found all the music and sound effects on I credited all the artist and owners in the end credits. I also did the marker sound effects at  the beginning including putting the cap back on the marker. I recorded these through quicktime them add them into the timeline accordingly.

After organizing my footage and starting my edited I noticed that I had to do some extra work. I had to colour grade 2 shots (brushing teeth in mirror scene and also the bed scene) in Adobe After Effects, because we used the lighting kit to properly light the scene  and we shot mid day so there was a fair amount of natural light coming through the windows. Those scenes were supposed to be at night time so I did what I could by colour correcting and darkening the shots by playing around with the brightness, hue, saturation, curves, levels, and tint. I’ll admit I’m an amateur at this but I believe the two shots came out alright and work for what I needed them to look like. Maybe in the future if we want a night scene shot, we should shoot at night time. It will save the hassle of colour correcting it and will probably look way more realistic.

Picture 8Picture 7

Also I had I to use Adobe After Effects to mask Benny Scrantz (Bradley Thomas) in the scene where his brushing his teeth in the mirror, and also when he his having his vision/nightmare and he is talking to himself. This merged two clips together and created the illusion of 2 Benny Scrantz in a single shot. This all took extra time but I think it makes the scenes work and look  a lot better with these very subtle special effects. This was a very useful thing for our video, it helped out so much and it was super easy to do.

Overall the edit is coming together well, with only a few problems but nothing to major. If I were to criticize anything I would say that I wish we would have a different ending scene to show that Benny Scrantz was on his way to his job interview. It kind of just ends abruptly without any closure. It does show him wake up and get out of bed but I wish we could have shown a bit more. Maybe we could of shot him getting out of bed and simply grabbing a tie and heading out of the door. This is something we could have planned when we sat down in Cafe Nero. I’ve learned from this mistake and in the future I will try not to make this mistake and if I do we can always go out for a re-shoot and get the necessary shot that we need.


task 2

Thursday 21th of March 2013: Today was the day our class went to Stanage Edge in the Peak district of Derbyshire to get some nice shots for our county portion of the capture the spring project.We set off at 8 am and it was a couple hour drive. We all dressed warm for the occasion as it had been snowing from the previous week and was freezing cold. When we got to Stanage Edge we stretched out legs, took our necessary toilet breaks, and then started the hike to the top of the peak. It took us about a little less than an hour to make the climb but when we got to the top the view was fantastic. We had a quick bite to eat then started our filming. The question on everyones mind was how do capture the spring with imagery when it’s nothing but snow everywhere? Our lecturers Jon and Paul were giving us ideas about rebirth and filming the snow melting and dripping down. This was a start but was a bit difficult to capture.

The most frustrating thing I think everyone could agree was how unbearably cold it was. At on point I was switching lenses on the camera and after I had taken one lens off my hands were so numb I couldn’t get the other one on, so I had to ask Frankie Burrows to hold them while I warmed them up. Over all the experience was worth it and I believe we got some workable shots to use. I would say for next time I would like myself to plan better and have a set idea in my head for what I want to get rather than wing it. My problem is coming up with ideas to use which I believe is the main part because thats where you start from. I think I just over-think this step.I will try to work on this with more and more practice, and hopefully get good at it that it will come naturally to me.



Friday 22th of March 2013: Update: Looking at some of the footage shot yesterday at Stanage Edge, most of it is over exposed. Not all of it but some. Since the snow is white and the sky is grey, some of our images are really bright. We could have brought down the aperature, or played with the shutter speed if we didn’t have any movement in our shot. We shouldn’t have had any over exposed shots in my point of view and I will hold my hands up and admit that some of my stuff didn’t come out great but I got a good amount of footage to work with. I do understand that it was freezing cold but we mad a 2 hour journey and then another hour hike to get up there so at least we could made proper adjustments (that would have only taken a few seconds) to get a nice shot. This just means I will have to re-shoot some of my country footage for capture the spring.


Monday 25th of March 2013: I took a train down to London to film my city portion of my capture the spring project. Overall it went good with only a few problems. Saying that though I would have to say that this project has been really difficult probably the most difficult out of all my projects this year. I’m from sunny California and you know when it’s springtime because there will be nothing but blue skies, and people start to wear shorts and sandals. If it would have been much easier to capture the winter in England. Then it wouldn’t have been such a problem. It was snowing for the whole 3 days while I was in London. I ended up staying at my aunties house who lives in Hackney East London. This was great because there is loads of great things to film around this area.

I didn’t really know what to film, and the snow really just made it worse. I figured, hey, if this is how spring time is in England that it is what it is. So I relied on imagery. So since there is no sun, and everyone on the street is bundled up as if a blizzard is about to hit, the only thing I could think of, and that really saved me was flowers. It was a mission to find some but there are a few here and there. Springtime does bring flowers to mind, and even if they are in the snow it does make you thing of re-birth. To prove that i was in the city and not just a field in the country I filmed these flowers with buildings in the background.

One of my favorite shots I got from going to london is a canal boat slowly going down the canal. What’s so spring time about this you ask? Well it just so happens that the name of the boat is patience, which I think is very appropriate for this project. I haven’t lived in England before I came here in July of 2012 but from the 8 months that I have been here I have realized that when it comes to English weather you have to be very patient. Spring just like the canal boat will take a good while before it gets to its destination. But patience is key or should I say a virtue. Good things will come to those that wait.  I wish i would have got some more shots but at the end of my 3 days spent there I had to make my way back up north. Overall I had a great time going down there and the shot I got I am happy with.

Picture 4


Tuesday April 9th 2013: I finally ordered a camera online and today it came in the post. I got a Canon 550D with a few lenses. This is great because now I can film a few pick up shots whenever I need them. The first thing I shot with my camera was some baby lambs in a field by my house. Baby lambs should remind people of spring time in the country, I don’t know because I am a city boy but this was great because I had originally planned to film some but it was just a bit harder when I had to borrow the kit from college. It is much easier now that I have my own camera, and I know that I will get loads of practice using it. It came with a 75- 300 mm lens which was perfect for filming these baby lambs as I could shoot from some distance away and it looked like I was really close and right up next to them. I am really happy with my new country footage as I had to replace some of it because some of the Stanage Edge footage was over exposed. Luckily unlike Stanage Edge, or London for that matter, it wasn’t snowing and it does indeed look more like springtime. I think with all of this footage that I have enough to complete my edit for the capture the spring project, which I will start shortly, and if I do happen to need more I can get a few daily rushes.Picture 6


Saturday 13th April 2013: Today I completed the final edit of my capture the spring video. Overall I am pleased with it. Reflecting on the whole process of filming and editing of it, things I would have done differently is maybe i should have brought a normal sized tripod. I only brought a mini tripod which is about a foot in length, the low shots look really nice but some shots weren’t feasible as they were too high up. Some shots I didn’t use a tripod at all which I highly regret as some really good shots I got I had to throw away because they weren’t stable and unprofessional.

During the editing portion of it, the longest thing was deciding on a song. I finally choose the song Sunflower River Blues by John Fahey. I really like the overall tone of the music especially at the beginning. Saying that though, Since I edited to the beat of the music, some of my shots are only a second long which is a little quick for my audience to grab a hold of the concept I’m trying to get across, such as the one second shot of a sign that says over there and over here. It’s supposed to represent the transition from winter to spring, but since it’s only a second people might not even get a chance to read this. There are a number of ways I could have dealt with this by putting that shot somewhere else or simply choosing a new song. However I liked the song and the clip just fit at the point in the video. Next time I will do more research on the song for my video so I will understand problems like this further in advance and I can deal with them accordingly.


Picture 4 copy

Monday 15th of April 2013: Today we were put into our groups for fiction projects task five. I was grouped with Bradley Thomas, Gareth Skinner, and Samuel Shannon. We had to include a location, a prop, and dialogue from a set list given to us from the brief. We chose the location to be in the Forest, the prop to be a brown paper bag, and the dialogue to be “you gotta better idea?”

Bradley and I thought of a basic idea of two people that have just pulled off an unsuccessful robbery and they are deciding to ditch the car as the number plate was written down.  The decide to lay low in the forest, the brown paper bag can hold the stolen money, and the dialogue “you gotta better idea?” can be used in any situation really. This was a good start but it just need some fine tuning.

We decided the location on where to film and planned a recce to visit sometime in the near future. We also decided we would like actors for this video and Bradley said he would contact the two performing art students he used for his recreation scene earlier this year. We just need to iron out all the details by writing a complete script and doing a few storyboards. Our lecturer Paul said that we will have to verbal pitch either with video or powerpoint to display our ideas, so that is also something we will have to work out. Overall I believe we are off to a good start.


Friday 19th of April 2013: The script is completed. Brad, Gareth, and I all sat down and discussed some of the dialogue that would be said in this video on Tuesday 15/04/13. Sam really didn’t seem bothered and didn’t have any input towards the script whatsoever. This part was probably the most difficult for me as I am not so good with coming up with dialogue to say. together we got most of the script done, and today I finally got the rest of it done myself. I’ve showed it to everyone in my group and they’ve all agreed that it’s alright.

Bradley has got in contact with both of the actors and they’ve agreed to act in our video which is really nice as I personally didn’t want to act, and I know I would have to as a last resort as no one else would want to. we gave them copies of the script to revise and we’ve agreed to film on Tuesday 3oth of April 2013.

We checked out the location of the forest in Asfordby, the village next to Melton Mowbray. It seems like the perfect location to film our video at. It gave us better insight to our story and how it can be told. We now just got to get our pitch ready for Tuesday to show our lecturer Paul, and we have decided to go with a Powerpoint slide show. All together it seems to be slowly but surely coming along nice and smoothly. We’ll just have to wait and see what happens next.


Friday 26th of  April 2013: We had our group pitch on Tuesday and overall it went really well. Everyone contributed to the pitch and Paul seem to really like our idea.

The only constructive criticism our lecturer Paul had was in the way we were gonna construct our story together it something he has seen before. There is nothing new about it and the story is pretty much plain and you can see where it is heading. Paul told us the method that he utilizes the most for story telling is make the audience believe something is going to happen only in the end for something totally else  to happen.

I really liked that idea and with that I changed the script slightly and added in premonitions, foreshadowing, and also showed the audience things that the characters won’t see. This will hopefully make our story telling way more creative and not just a simple A to B to C to D story. It will jump around and show things that might happen and things that really did happen and make the audience think more deeply about what they just saw.

Also we have talked to our actors and told them the script has changed a bit. We will give them the new scripts on monday at lunch time so they can revise for the shoot. One of the actor is also busy on the tuesday so we’ve all agreed to shoot on Friday the 3rd of March instead.

Criteria: 4.1 & 4.2