THE PROCESS

MY INSPIRATIONS

NARRATION

  • To All The Boys I’ve Loved Before directed by Susan Johnson (2018)

I loved the use of narration by the main character Jara Jean to tell the story of her letters to her crushes. It's a simple way for them to tell the audience a lot of information about her past life and crushes by doing a quick montage of who the letters are addressed too. It's lighthearted and shows off the style of the film easily.

  • Submarine directed by Richard Ayoade

The opening narration to submarine immediately gives the audience an idea of what the main character, Oliver Tate is like. He's pessimistic about the world and has a very cynical view on life. I wanted to do the same for my character but with a slightly more happier tone to the voice. Also, the opening pan of the room also gives the audience an insight into his hobbies and interest

BREAKING THE FOURTH WALL

  • Submarine directed by Richard Ayoade

I love how subtle but playful the look to the camera is in the opening. It gives yet another insight into what the character is like as a person.

  • Fleabag

My favourite thing about Fleabag is the use of breaking the fourth wall in scenes where other characters are still in shot. The character of fleabag is so dry and witty that having the direct address only adds to the personality of the character and this is what I wanted it to do to my character Benny. The character of fleabag would often turn 180 degrees just to be able to make a joke or speak to the camera. This kind of playfulness and confidence is something I wanted to experiment with for my final film.

  • Deadpool

I liked how the character of Deadpool would be the person to make things happen. For example, making a comment to the camera about needing to play music for them to walk up to the bad guys in the film. I also liked how they used direct address to tell the audience what the character was thinking or feeling at the time, no matter how crude or silly.

  • Fight Club

I'm inspired by the confidence in the use the breaking the fourth wall and the way they transition between each character looking at the camera. The shot is a strong visual and​ very direct and this is something I want to take forward into my film.

THE FANTASIES

  • To All The Boys I’ve Loved Before directed by Susan Johnson (2018)

This film's opening is a fantasy that the main character is having. The transition from fantasy to reality is something I really like about the film. It immediately establishes the relationship between the characters as quite playful as the younger sister is interrupting the fantasy she is having. 

  • Isn't It Romantic

The visual style and the brightness of the whole film are what I wanted my fantasies to be like. The whole film is basically a fantasy/dream about being stuck in a romcom version of the world where everything is bright and colourful. In the film, New York is made to be this over the top pink and clean version and this is what I wanted to try and do for the fantasies in my film. 

  • Ant-Man

What I like about this film is the way they tell lots of information at once. One character is notorious for telling a story but in the longest way possible. This is used as a comedic device in the film and is one of the strongest parts. The character that is telling the story takes us back in time to the time of the story and becomes all of the characters. His voice is the only voice we can hear coming out of half a dozen other mouths, It could be a woman or a man and they will be speaking but the storyteller's voice will be coming out. I loved this and knew it was something I wanted to experiment with.

  • The Secret Life of Walter Mitty directed by Ben Stiller (2013)

What I like about the fantasies in this film is it's got a very stylistic way of getting from reality to fantasy and back to reality. The change from reality to fantasy is seamless. There is no change of location or costume it flows from the same setting. I knew I had to try to see if I could pull off the same location fantasy in my film.  

THE MESSAGE OF THE FILM: WHAT IS IT???

The message behind my grad film is that I want people to come out after watching thinking that they should go for their dreams in reality rather than fantasise about them. I want people to think that they should go for what you want no matter what it is. Whether that's someone you want to ask out or applying to a dream job, you should take the chance and go for it. This is shown in the film through the protagonist's character development. Benny fantasises about the things he wants in life but by the end, he has taken matters into his own hands and has started to make his dreams a reality. And having Ellie ask him out shows that someone is interested in getting to know him which was something he fantasised about.

HAVING A VISUAL STYLE: YELLOW YELLOW YELLOW

Having the visual yellow aesthetic was something I knew I wanted from the start of production. I decided to do this because I wanted to push myself further visually and also see how much the production design and costume could bring to the film. I wanted to focus on this because I think it is often a part of a film that is overlooked so I wanted to bring a focus to this. This was one of the best decisions I made throughout the production of the whole film because it instantly makes the film recognisable and makes the visuals very eyecaching. A deeper look into the colour yellow shows that it can often connotate feelings of cowardice and this is something that related to Benny. While the colour of the cereal company may be yellow, benny is experiencing cowardice in his day to day life. He doesnt have the courage to do anything that he fantasises about but at the end of the film virtually all yellow has gone from his life. This also means that all the scared feelings about Ellie and his dream job have vanished and he evolves into a better person for it. These subtle meaning would not have been made possible if it was not for having clear communication between me, costume and the production designer.

DECIDING ON THE FANTASIES

Deciding on the fantasies was one of the main focuses of the script writing. I wanted to have some fun with them but also still be able to convey the message of not dreaming about what you want, but going for it in reality. This is why having a fantasy about his dream job was so important. I wanted the audience to understand that even though Benny wants friends and a girlfriend he still has really high ambitions for his career, that he’s not going to stay as a call center operator forever. He has dreams like everyone else.

 

Getting in and out of the fantasies was something I found quite difficult. I wanted them to all be unique but simplistic in the way they are done. Watching films like Ant-man, to all the boys I’ve loved before and The Secret Life of Walter Mitty really helped inspire the different ways of cutting to and from the fantasies. To help sell the fantasies even more I decided to add a soft glow around the clips to make it seem almost angelic as well as making the shots more saturated. Doing all of this really helped sell the visual style and flow of the fantasies.

PAPERWORK

THE PROPOSAL

THE SCRIPT

SHOOTING SCHEDULE

MAKE SPACE PAPERWORK

PROPOSAL FORM

RISK ASSESSMENT

FLOOR PLAN

EQUIPMENT LIST

Blackmagic Ursa Mini 4.6K Cinema Kit

Sony Alpha A7S Mark II

Canon 5D Mark III DSLR Kit

Carl Zeiss 21mm T2.8 DISTAGON ZE Lens (Canon)

Carl Zeiss 35mm T2.0 DISTAGON ZE Lens (Canon)

Carl Zeiss 50mm T1.4 DISTAGON ZE Lens (Canon)

Carl Zeiss 85mm T1.4 DISTAGON ZE Lens (Canon)

Samyang 85mm T1.5 AS IF UMC VDSLR Lens (Canon)

Samyang 50mm T1.5 AS UMC VDSLR Lens (Canon)

Tripod for Canon C100

Libec Tripod Video

Sennheiser MKH70 Microphone Kit

Sennheiser SK100 Radio Microphone Kit x3

XLR Male - XLR Female 6m x2

Boom Pole - 3m long

Zoom F4 Audio Field Recorder

Windshield - ME67, MKH70 Dead Cat

Arri 800W Open Face Light Kit

Arri 2000W Open Face Light

Kino Diva Light 31 (tall)

Kino Flo light Panel #1 (Taller)

Camera Dolly

12ft Straight Track kit for Camera Dolly

Track for Camera Dolly

Manfrotto Magic Arm

Lighting C-Stand x3

Extension Lead - 4 WAY 20m Reel x2

Clapper Board (Acrylic)

Battery Canon 7D/5D x2

Black flag Kit - Road Rags

WORKING WITH A PRODUCTION DESIGNER

MOOD BOARD

COLOUR PALETTES

PROPS LIST

OFFICE SPACE / CALL CENTRE BOOTH

BEDROOM // DESK AREA

COMIC-CON BOOTH FOR FANTASY

COMIC BOOK DESIGNS

COSTUME EXPENSES LIST

WORKING WITH A COSTUME AND PRODUCTION DESIGNER:

HOW DID IT BENEFIT THE FILM?

Collaborating with a production designer and a costume student helped make my visual ideas of having a yellow aesthetic possible. I wanted to push myself further visually and create an aesthetic for the film so using production design and costume really helped tell the story visually.

 

I wanted the colour yellow to be consuming Benny’s life right from the first few frames. As if Nut Pops has completely taken over his life without him even realising it and then the further the film gets the less yellow is seen due to his redundancy. This meant my collaborations were even more vital as they helped me figure out how I can show more information through set design and costumes.

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