'Half-Baked' - A Prequel - J Glover @cinematicquack - Tumblr Blog

The Moon - Production Design Meeting

For the Moon, Luke wanted both Laura and me, as well as themself and Peter to bring some references for character and locations so that we could see everyones ideas.

Here is Laura’s moodboard:

Here are my references:

I’m happy that myself and Laura were quite on the same page, and i think that came across in the meeting that proved we work well together.

The Moon - Test Shoot

For the actual shoot, Laura was able to be on set. We shot all the dream-sequence dance on Wednesday. However as it was such a tight space, it meant Laura wasnt able to be on set. I did make sure that Laura was in charge of costume and makeup entirely on set, so that we had seperated roles. I was script supervisor, so I had to doubly do set and costume checks, as well as script supervise. It was tough, but I really enjoyed it. I did feel bad for Laura though, and we both stressed to Luke an Matt (our Ad), that on Thursday Laura needed to be more involved. Thursday saw Laura and I first setting up the kitchen scene. I let Laura be in charge of this as I had done all the other set up. We then completed the bedroom scene, then the kitchen. I do like how this all turned out. I became a part-time gaffer at one point due to the small space in the bedroom. I will say communication between Luke and myself was great this second day - they always made sure to check in with me about scripty things before moving onto another take or new shot. One problem I did have was that Matt was very overbearing and rude to any other person apart from Luke. He also wasn’t great at dealing with special accomodations, for example, I had to sit on a chair during a certain take as i was in a lot of pain and couldnt stand. He then got mad I had a chair and shouted that it was blocking the hallway and took it away from me. I am also very allergic to peppers, and on day 2 they made vegan chilli for everyone which has peppers in it. It meant I had to sit in the hallway by myself as everyone else got to eat.

Other than that i was very happy with mine and Laura’s work.

The Moon - Production Design

The moon was very rushed. There was not a script till a week before the shoot, and Luke had a holiday a 2 weeks before the shoot, so communication and preperations were very behind.

Laura and I made it work though. We knew we would use most of our own clothing and props for this shoot - the only thing needed was xmas and new year decorations which I bought. Here is our detailed prop and costume list:

MILO

Ill-fitting second hand blazer

Shirt

Trousers

Converse

Maybe a loose tie?

SAM

Form-fitting top (mesh or cutout sections)

Flannel shirt tied around waist, or over top?

Cargo jeans!!

Boots (docs or doc-like?)

KITCHEN

Low mood lighting

Christmas lights

Party food

Cake?

Christmas decorations

New year decorations

Empty bottles

Full bottles

Gin bottle

Glass wear

Piles of dishes near sink

Overflowing bins?

Flat to do list

Photos for fridge

Fridge magnets!

(need some props and lighting in hallway where sam enters from to show the party beyond this room)

BEDROOM

Bedding (need to decide on colours and pattern)

Posters

Stack of books

Various coats and bags (idea of having the coats almost frame them on the bed together like a canopy?)

Glass of water

Desk

Desk trinkets

Study books and notepads

Desk chair

Painting above bed (moon related? Or perhaps something related to Milo as we are more in his space and pov here)

Blankets and cushions and throws

plants

DANCE (hallway)

Off christmas lights

Tinsel

Banners and bunting

We had a rehearsal to choreograph the dance with actors, which I helped out on. Then on Tuesday, I was able to set up the hallway and bedroom. Laura was on another shoot that night so I stole Peter to help me with the higher decorations. We then did a camera test where I stood in for the dancers. I love how the decorations look in the spotlight!!

Care4U - Test Shoot

TEST SHOOT HAS ARRIVED!!

The is the smoothest shoot I have ever been on. Jess scheduled in Monday for a full day for production design set up and camera tests. I loved how the set came out! I did set the entire room up, however when Jagoda arrived around noon, she explained that we would never see half of the room as thats where the camera is for most shots. I do wish this was relayed to me sooner, but I made it work.

The next day was our first shoot day. We had a directors rehersal, and it was amazing to see the costumes with the set. We did all the intimate action scenes on day 1. There was a minor issue with props where the soiled pad wears began to deteriorate after an hour or so I had to kee making new ones. Luckily, we only needed enough to last us the first day as we do not see the pad at all on day 2. I’ll keep this in mind for the future shoot!

Other than that, I’m very pleased with my work on the shoot. I also helped on the monday night to make food for the crew for the other couple of days!

Care4U - Rehersal, fittings and Prop list

We had a costume fitting for the actors. I was working with Viv, an industry friend of Jess’. This helped to take some of the load off of me, however, I was still the overseer of costume decisions. Here are photos of the costume we decided. Unfortunately, Ann, who was cast as Lorna, pulled out last minute.

We also rehearsed the intimate action. In the meantime, I had made a full prop and set list for the shoot:

Dusty trinkets and memorabilia

Pee and poo

Stacks of pads

Medicines (sheets and serums)

Pill sheet

Wipes

Medical pamphlets

Puppy pads

Stacks of towels

Plastic cup

Basin

Cloth

Blue silicone gloves

Showergel

Moisturiser

Plastic bin bag

Dead plants

sheer/lace curtains

Pins to pin up curtains

DUST

Photographs of grandchildren

Bin

prescription bags and nhs letters

Tissues

Get well soon cards

Things for jackets/bags

Summative Pitches

Care4U

I was worried about pitches, however I felt super confident in what I was discussing. Here is my script for Cafe4U:

I was drawn to this project through my own experiences as a young carer and patient in both private and public broken healthcare systems.

As production designer, I am excited by the possibilities with texture on this project. Older people are textured, something which reflects their experiences in life, so to should the spaces they inhabit. I intend to create the homes of the Service Users to be warm and homely through earthy tones, a place which feels full of life and experiences. I picture each home to be like a sepia photograph. Yet, these spaces will become overtaken by the clinical things they now need to be looked after. The warm tones and texture will be contrasted by cool toned, sterile, smooth medical objects.

Working closely with Jagoda, we will reveal elements of these Service User characters over each scene. Trinkets, hobbies, memorabilia, whilst dusty, will reflect their backstories.

There will be a contrast in costume to reflect the unavoidable distance which the carers have to their Service Users due to the system. Carers costumes are cold, lacking pattern and reflecting their uniformity and clinicalness. Whereas the Service Users are textured, patterened, messy, colourful. The carers are like manufactured products in the care system, i am inspired by This Is Going to Hurt as we see the nurses’ personalities showing through small glimpses of their outerwear and bags.

In terms of set, I like the indoor photography works of Gregory Crewdson. The colour palettes and blocking of rooms informs my use of space and colour stories. Saint Maud (2019) is a particularly strong reference for me in both costume and set. The contrast between carer and Service User, as well as the colour palettes, combined with lighting, all work together to create a strong character to the home and Service User in comparison to the carer.

The Moon

Here is my script for The Moon (parts in bold are what I said, nonbold is Laura):

I’m Juno, this is Laura, we are co-production designers for The Moon. I mainly work as a production designer and writer. I was drawn to this project as I was a trained dancer for 13 years. INTRO LAURA

First, I’ll take you through our characters. I came up with the visual motifs for our main characters based off of a line in the script. ‘I keep having a dream where I'm a moon and the world I'm in orbit of keeps drifting further and further away.’ From this, I’ve based Milo off of the Earth and Sun, very Wes Anderson. We want him to feel unsure of himself, like he is trying to fit in but literally and metaphorically unable to due to his oversized clothing. In contrast, Sam represents the moon. She is comprised of cooler tones with pops of red here and there. Sam doesn’t care as much about impressing people, so is dressed quite casually with jeans and form-fitting upper layers.

I’ll explain our ideas for the three different locations. At the party, we want to emphasise how both characters feel out of place. The busy and hectic environment feels overwhelming. But when Milo and Sam meet again, they enter their own intimate world. The changing vibrant colours of the ongoing flat party will also convey the whirlwind of emotions the characters are feeling. Once they leave the flat, the darkness of a winter night accompanies them as they walk through Edinburgh. Although there is a sense of coldness between the pair, the warm street lights signal the rekindling of an old spark. It is when they arrive at Sam’s flat that they both feel at home. With Sam being a costume designer, we want to integrate costumes and sewing materials, creating texture and patterns within the image, along with different sketches and drawings around the flat. Although it is crammed, it is a warm and welcoming place, full of memories about their relationship.

In terms of the dream sequences, working with Laurie, we have crafted each location and costume so that they work well in both normal lighting, and then the vibrant lights of the dream.

Care4U - 2nd Location Recce

George (ad) and Euan (dop) joined Jagoda, Jess and I for a 2nd location recce. This time, we planned where kit and people could go, as well as the blocking of furniture and costume.

After this we did end up switching the floor plan around a bit.

The Moon - Test, Test Shoot

For the moon it was important we test the 2 camera operation with action. Laura and I stood in for this and I love how it turned out, very cute.

After this we then decided atleast for the test shoot that 2 cameras would be too difficult.

The Moon - Production Design Meeting

For the Moon, Luke wanted both Laura and me, as well as themself and Peter to bring some references for character and locations so that we could see everyones ideas.

Here is Laura’s moodboard:

Here are my references:

I’m happy that myself and Laura were quite on the same page, and i think that came across in the meeting that proved we work well together.

Care4U Location Recce

After tutorials with Mark Leese, he stressed the importance of the production designer being there for location recces. I had briefly mentioned that my grandparents house is in Edinburgh, and that we have shot something before in 1st year there. I showed them these blurry dark photos I still had on my phone and we arranged a recce.

Jagoda and Jess loved the space, and it worked well for me as when i think of older people, i of course think of my grandparents house. The colours and textures were exactly what i wanted too. My grandparents were more than happy to let us shoot there.

Screenwriting - New Story Outline

Here is my next outline for Ragamuffin. After my last tutorial, Kate suggested I come up with a simpler idea. I still wanted to use magical realism to tell a story about complicated childhood grief. Here is what I came up with

https://docs.google.com/document/d/1E5SRR5Oc62AedWq7qEo2wv6sztQdyF1hbFcbZE7Mesw/edit?usp=sharing

She said there was still too much going on, and that I needed to cut down on the moments of the character’s powers coming out. However, I realised I still wasn’t loving this idea, it just felt too simple and I loved my other idea more. By this point I also realised that I was becoming very overwhelmed with my other work, and since I was not being marked on this, I had to stop.

Project Decisions

Following the formative pitches, I had been approached by several groups to do production design, since I have realised my film Ragamuffin is not being made. I had already committed to ‘Quality Care’ as I have worked with Jagoda in the past and she allows for my creative ideas a lot with production design. I then decided to go for ‘The Moon’ as I had been involved in the early writing stages with Peter, and liked the idea a lot. I intend to still help on other projects where I can.

Screenwriting - New Outline

Here is my formal outline of Ragamuffin

https://docs.google.com/document/d/1bhGR_63s3VI4JDVI6734kNYjyPCuR7cDOdGC6hEEG1s/edit?usp=sharing

Kate said this idea is way too long, like feature length, and that I’d need to cut down on the content, or change the idea completely.

Seminar 3 - Film Notes

This week we will focus discussion on how character relationships can serve story structure and plot.

Sevilla

(11:14)

https://vimeo.com/90798046

Immediately establishes the intimacy of two characters, and the distance the second boy has to the couple.

>> establishes how the girl and boy are lonely without the other boy in future time

Boris jumps and leaves them in the world of the living

>>> everything is dark and lifeless without him

They get naked and reenact the bridge death

Strange Men

(19:48)

https://vimeo.com/144197055

Note on Strange Men: there are elements of threat around sexual abuse/violence - nothing explicit but implied

We Together

(7:10)

https://vimeo.com/175191424

Isolation

Loss of memory

Regaining memory and personality through music and dance

Screenwriting - First Outline

Here is my first outline for Ragamuffin. Kate explained that this story has multiple films inside of it, and was much too detailed and long to be 10 minutes. I would love to come back to this film as a possible feature?

Synopsis

After the recent death of her mother, a 19-year-old girl must become the guardian of her younger brother. As the bills pile up, she must juggle her university degree, job, and her sibling’s strange, fantastical, telekinetic powers while trying to find the time to mourn her mother.

Plot Points (1st Draft)

Brief dream sequence. Rae dreams small flashes of her mother dying.

She opens her eyes and rushes to get herself and her younger brother Alfie ready in time. Alfie uses telekinetic powers to make his bed, make breakfast and tie his shoes. Rae does not react to these powers, other than to tell him to knock it off.

As they leave out the door, Alfie runs back and gives a quick kiss to a photo of their mother. Rae, who waited at the door, is approached by Angus, their landlord. He informs her that he can’t wait any longer for her rent payments. Rae tells him their in a rush and to visit tomorrow afternoon to discuss.

The run to catch the bus, but it begins to pull away without them. Alfie uses his powers to cause the bus to stall. Rae drops him off at school and runs to catch a second bus, however, it pulls away without her. She looks down at her hands with a frown.

She joins her lecture late, and struggles to understand what is being taught. As she is leaving, her lecturer stops her. She mentions that she is in a rush to get to work. He explains that he is concerned for her grades. As they talk Rae’s phone rings. It’s Alfie’s school, asking her to pick him up as he is suspended. She apologises to the lecturer and says to email her.

Rae has to bring Alfie to her work, he sits pouting at a table whilst she works. On her break they discuss that he can’t let his anger get out of control. Alfie is upset that Rae won’t let him use his powers. He says that their mum would have let him, but Rae states that shes not here, so she gets to make the rules now.

She carries a sleeping Alfie up the staircase. She sits on a mattress in the living room with her laptop. She sees her lecturer has emailed her saying if she doesnt pass the next exam, she wont be able to progress her degree. She sighs rubbing her face. The photo of her mother glints in the moonlight, Rae stares at it, her breathing getting faster.

Another brief dream sequence. Where instead of Rae finding her mother, she finds Alfie dead.

She is woken up to Alfie using his powers to play with various household objects. Rae panics as there is dangerous items and the mess he is causing. He won’t listen to her so she shouts at him. All the objects clatter to the floor. She says that she didnt ask to become a mother, she wants to live her life but now shes stuck looking after her younger brother. As she rants loudly, the photo frame of their mother cracks. Alfie begins to cry, it begins to rain outside. As Rae realises what shes done, she starts to apologise but if cut off by a knock at the door. (I was thinking of possibly having the brother use the mother’s uses to telekinetically create a sandman silhouette of her which he plays with?? But unsure if this is horrific).

Rae looks horrified as their social worker is at the door, he barges in and sees the mess of kitchenware and food, Alfie crying. He begins to list all the issues Rae is having and suggests, but then informs, that he will take Aflie away for a while to make sure he is properly looked after while Rae gets her life together. Rae panics, crying now, Alfie is confused as he is taken away. Rae follows them outside, now drenched from the rain. She apologises to Alfie through the car window as they drive away. (This scene doesn’t work, I need to figure out what happens here better, possibly the landlord shows up and gives an ultimatum whilst the social worker is there?).

Rae returns to the apartment, shaking. She notices the photo frame, picks it up and stares at it. As she begins to cry, objects start floating in the room. She screams and the objects combust, glass flying everywhere, grazing Rae’s skin. She sobs to herself.

She goes through the motions. Cleans up the apartment, goes to classes and work. She makes friends, gets better grades, and manages to pay bills. Everyday she calls the social worker to ask about Alfie, yet she is not allowed to see him yet as he is being placed with a foster family. Rae finds herself using her own powers to remind herself of Alfie and to help others. One day the social worker says she can call with Alfie that evening, Rae finds herself smiling throughout her day. That evening, Alfie calls. They tell eachother how much they miss one another. Alfie asks about Rae’s powers, and she says they can use them now. Alfie uses his powers to give Rae a hug through the phone. They promise eachother they’ll be back together soon.

Seminar 2 - Film Notes

Here are my notes for this week’s films.

how all departments can contribute to world-building and overall mise-en-scene.

the effectiveness of each department's contribution.

how well the narrative is communicated within the short form.

how well the time is used and whether the stories sustain for the duration of the film in films over 10 mins.

characters' point of view and character relations - how pre-conceived expectations and judgements can be manipulated by film-makers to inform the narrative direction and audience experience.

Submarine

(20:50)

https://vimeo.com/233685439

Interesting cuts where people change sides, breaking rules of 180 and blocking.

Worldbuilding - feels apocalyptic, gives good sense of this through character dialogue. Lots fo setup from the character reactions.

Many of us didnt know this was a true event

We didnt really get the story

Confused by time jumps in bar (wasnt actual time jumps but felt like it was)

Missing contexts due to not lviivng in lebanon during time

Is her only intent being passive rebellion? We have a character who is so passive to their surroundings, only real worry is their window and getting laid. So the idea that this person was so hardcore protesteor who got their bones broken. Interesting character who used to be a protestor and is now passive. >> someone who has given up and doesnt give a shit anymore - romanticised passivenes??

We feels you could easily half the film in terms of story, but we loved sitting with the look with the film.

Romancised that there was a whole world here, and now we’re seeing the shit end of it. And the two romantic characters had something and now it is gone - everyone is evacuating.

Is the narrative their interpersonal conflict, is it her protestor past, is it the broader idea of infrastructure collapse.

Good consistent tone through visuals. Great production design for the world. Intimate shots, then once everyone leave change to wide shots.

Feels very slice of life, realistic, despite how heightened the situation is.

Romance didnt benefit the film, but loved their chemistry.

Listen

(12:54)

https://vimeo.com/196593911

Trigger warning – ‘Listen’ deals with themes of domestic abuse, violence and racism

Hail Mary Country

(18:36)

https://vimeo.com/286448015

Felt like an amazing version of an aunty donna sketch

>> would love to see a feature of this

Felt really short, quick paced. Tension was drawn out. Setup was crazy and slightly messy

Performances were amazing

Resolution was a bit satisfying

The fact they hang dong, repectfully. It takes thr apects of sexiness, and uses them for not sexy things. Reversal of gender roles. Usual guy characters have become women.

Colour grade was sickly. Popped in certain moments.

>> costume and character design works well in sets. Look at any person in family and be able to immediately get personality. Gives sense of heightened reality.

Toned down slightly (colour grade) gives homely americana, sitcom vibes.

The Shining Star of Losers Everywhere

(18:38)

https://vimeo.com/176459945

Documentary format

Interesting animation styles to show story

Good pace fo storytelling

Music kept engaged

Use of colours!! Very clear art direction

Never left location

Animation played part in pacing, instead of showing actual horse racing - to be able to distinguish a single horse, and focus, gave sense of character.

>> doesnt show grim side of horse racing.

Good message about not having to win.

Skeleton Heart

(3:16)

https://vimeo.com/319704456

Also by Submarine director Mounia Akl, that I thought might be of interest for a couple of the more experimental ideas

Sound design didnt add much

Didnt understand the story - no skeletons

Worlds biggest ringlight

Film Research and Rationale

Most of my past works are based off of my trauma experiences and are usually quite tragic and upsetting. Over recent months, and recent therapy sessions, I have been able to recontextualise my own experiences in a more positive way. As a result, I have realised I want to represent trauma in a more uplifting way. I would like to tell a story which uses fantasy as an escape to better deal with trauma. I intend to directly draw on my experiences, but insert fantastical elements so that the story is more emotionally and tonally varied to my usual depressing stories. I will enhance the real through the surreal. In my story I want to use magical powers as an allegory for trauma and grief. These powers will help to outwardly reflect characters’ emotions. As I have a lot of time to develope this idea, I want to experiment with different scenes which show these powers to understand better how these powers fit into both the overarching story and specific character arcs.

Lilo and Stitch (2002) is a film I am always drawn to due to its representation of young carers and the hardships they face. It also has similar elements of fantasy to escape from the trauma the two sisters experience. I am currently rewatching various Studio Ghibli films for my dissertation, I will pay specific attention to the unconditional love and protection between the sibling characters in Ponyo (2008), My Neighbour Totoro (1988), and Grave of The Fireflies (1988). The Florida Project (2017) was recommended to me and I intend to watch this for a realist portrayal of young parents/guardians with young children. I also love the visual style of this film.

In terms of the powers of the characters, I immediately thought of the whimsy of Matilda (1996), however, I do want to separate my powers from this iconic film. I intend to look at the telekenetic powers in the Netflix serieses I’m Not Okay With This (2020), Stranger Things (2016-), and Raising Dion (2019-2022), to understand other approaches. I love the lighting within Oswaldo Cepeda’s photography, and would like to draw on this for the powers.

Visually, I really enjoy the cinematography in Mommy (2014), as it feels intimate to the pain of the characters. The fast-cutting, vibrantly coloured sequences of Jojo Rabbit (2019) that then gradually change into slow, dull scenes really emphasise the tonal shift of Jojo growing up, and I’d like to create something similar in my film.

I will be reading many psychoanalysis literature works for my dissertation, and intend to use this research to help me understand trauma processing better to inform my characters.

I intend to initially work on several outlines and character biographies to develop the purpose of the powers and what they represent, as well as understand what scenes are most important to my character arcs. I will need to do test shoots to experiment with how to visually portray the powers, and to possibly test VFX. Finally, I will be consulting my sister throughout the development process as this is her story and I want to make sure I am representing her emotions and feelings respectfully.

Trending Blogs

Recently Viewed Blogs

'Half-Baked' - A Prequel - J Glover