So we're just gonna ignore the bear then?

Film student at Edinburgh Napier University. This is where I will be uploading project documentation and discussing course projects, as well as writing about films I see in my free time.

[midsomar-mayqueen]

Film Adaptation - Script Development pt.3

During our tutorial with her, Catriona suggested I watch a play called “Abigail’s Party” to get inspiration for dialogue and subtext for the script. It was excellent. The boring, basic, condescending chat the characters in the play had (particularly between Beverly and Angela) was painful to watch but the subtle undercutting jibes and looks are exactly what I want to include in my script. I loved that you can immediately tell Beverly is making designs on Angela’s husband Tony, and it is never even explicitly said. The most Beverly says to Tony is “You alright, Ton?” and “Great” whenever he merely says yes. It’s all in the eyes and it’s so good, but not cheesy at all. The subtle manipulation of Susan’s anxiety by Beverly is perfect as well, since she’s doing it deliberately but all smiles and happiness, under the guise that she is helping.

I loved the moment that Laurence returned from Abigail’s party without Tony, as it was immediately clear that he had stayed to get up to no good before anyone said anything. When returned with his shirt untucked it became even more obvious, again with no words. This play is so excellently written, it’s definitely helped in my writing of “Turning Grey”.

[midsomar-mayqueen]

“The Arbor” (2010, documentary, dir. Clio Barnard)

We were shown a bunch of film clips in class and were asked to watch at least one of the films all the way through, and write a response to it. I chose the documentary about Andrea Dunbar, a playwright from a working-class family raised in Bradford, specifically a street known as the Arbor (the title of the doc and her most famous play).  I chose “The Arbor” because I was really taken with the use of actors to lip-sync to audio testimony before. I thought it was so powerful, it portrayed the subjects’ stories in an emotive and dynamic way, but it still didn't feel staged. It was like I got a sense of who that person was when it wasn't even their real face I was looking at. 

I thought it was interesting that they never used an actor to lip-sync to Andrea’s voice. They showed her through archive footage, so it was her true face. I felt like this was so we could fully connect with her, and not have her hide behind somebody else’s face, since she had done quite terrible things to her family and children. 

I felt so awful and connected to Lorraine. The actress lip-syncing to her interview conveyed such a quietly sorrowful tone, which can be heard in the voice of the real Lorraine. That in conjunction with her sister’s interview, and other members of her family, where they completely discredit and deny Lorraine’s account of the abuse she suffered at the hands of Andrea. Her story is the most distressing because it’s clear that her current circumstances can be traced back to behaviour caused by her mother’s mistreatment. It must have been so hard to see Andrea be so widely praised in the media for her writing talents, only to be mentally abused by her and ignored by her family. 

I really loved this documentary and it’s definitely inspired me to maybe use a similar technique in any future docs I make. 

[midsomar-mayqueen]

Film Adaptation - Script Development pt.2

The tutorial with Catriona today was incredibly useful. She gave me a great idea on how to keep my flashback esque narrative technique but make it serve the film better. She suggested I start the script from Louise arriving at Carol’s house and go from there. And rather than flashbacks to when they were younger, instead use flashforwards: them having basic conversations to flashing to them being drunk and being close again. I really like this concept so I’m going to take the advice. 

Georgia has joined our group which is great, she’s so talented. She’s going to be our production designer/editor. 

Need to finish the script now lol.

[midsomar-mayqueen]

Film Adaptation - Script Development pt. 1

“Turning Grey” got green-lit! And I have completed a first draft of a script. It needs a LOT of work but it’s a start. I incorporated my flashback narrative structure into it, but have received feedback that it may not necessary or a good addition so I may remove it. I need to work on how to segue my characters having surface level, basic conversation into having deeper confessional chat. But so far so good!

[midsomar-mayqueen]

Film Adaptation - Pitching Session

We presented our taster as part of our pitch to get our film, titled “Turning Grey”, green-lit. First we established roles: I will be the director, Lauren is DOP, Mairi sound recording/design, and Claire assistant directing/producing. We each described how we contribute to film and how we would achieve it. I discussed performance direction and narrative structure, Lauren spoke about visuals etc. 

I was very nervous pitching this (all public speaking makes me anxious lol). The stammer came out in full force and I couldn’t speak proper sentences half the time. But we got there. 

Olivia questioned me on narrative structure, which is fair because I completely forgot to mention that Carol and Louise were romantically involved in their past and that was why they were venting in this way to each other. That cleared things up I think. 

Overall I still hate public speaking but at least I can get up and just do it now. 

[midsomar-mayqueen]

Film Adaptation - Taster Film

Following idea development, we were required to make a 1 minute long taster of our ideas to show as part of our pitches, to give everyone a sense of what it was we wanted to make. Myself, Lauren, Mairi and Claire decided to work together on my idea. Because I wanted to focus on the relationship between my two characters, I decided the best scene to make a taster of would be the dance scene. I decided to act in it along with Lauren because, as the director, I felt it would be a proactive way of fleshing out how my characters will move/be with each other. 

My idea included intercutting the narrative with flashbacks to when Carol and Louise were younger, to get a visual suggestion to how close they were in the past. We filmed the “present day” scene first and the flashbacks second, making sure the camera was in the same place with each cut to improve fluidity. 

We wanted to get an idea on how to light the film, so we booked some LEDs and a 650W Sachtler, so we treated almost like a mini test shoot. It’s definitely given us a clearer idea of light positioning and colour tone. 

The original play featured the song “Try A Little Tenderness” by Otis Redding, which the characters listen to to psych themselves up to let out their inner emotions. I wanted to recreate this in my idea and included it in the taster. However, I opted to use a slightly different song, “Feels Like Heaven” by Fiction Factory. A slightly more contemporary song but still creates the same feeling as the former. 

Overall I think we captured and conveyed the tone we wish to evoke in the eventual film. Our group worked really together and our ideas gelled perfectly,. Very excited to pitch.

(To watch the taster click the link below)

https://katemcintosh97.wixsite.com/website/showreel

[midsomar-mayqueen]

Film Adaptation - Idea Development

After reading both of the plays we were given as inspiration for this module, I opted to make a thematical adaptation of “Road” (1986). I was particularly interested in exploring the themes the last scene of the play conveyed, which saw four characters allowing themselves to feel something real and confess their inner frustrations and pain. I decided to cherry pick certain aspects of the play that spoke to me the most to make something new. This led me to develop the following: two older women called Carol and Louise (named after two central characters in the last scene of the play) who are unhappy with their lot in life and wish to return to happier times. I was heavily influenced by the characters Valerie and Helen, as their monologues in the play are extremely powerful. One is desperately unhappy with her abusive, alcoholic husband and the other lament she lost beauty and attractiveness. 

After establishing the idea, I wanted to develop the relationship between my two characters. There’s a scene “Road” that sees two characters (who are starving themselves to death) engage in a macabre dance. I wanted to include a similar scene in my film, which led me to sketch out a scene in which my Carol and Louise dance together. Sadly and slowly at first, but becoming increasingly intimate and close as the scene plays out. This inspired to add a new level to their relationship: they were once lovers as well as best friends, and deeply regret bowing to the family and social pressures that led them to break up and lead unhappy lives. 

I am very excited to flesh out this idea further. 

[midsomar-mayqueen]

Film Genre - Critical Reflection Report

This module has definitely provided some much needed learning opportunities and I’m extremely grateful for that. It’s been difficult at times but ultimately I’ve really enjoyed it and produced some decent work.

My group was given Euan Brockie’s script “Natalie” to produce, a story about a girl graduating high school who attempts to get evidence of her teacher’s sexual abuse towards her recording him. I was really excited to work on this script as I felt there was an interesting (and creepy) character relationship to explore. I wanted to challenge myself by tackling the script’s darker dynamic and tone.

I chose to be the editor of the script. I was really keen to implement some techniques I’ve learned from watching films with a lot of suspense and see if I could elevate our film with them. As much as it doesn’t occur until later in production, editing is vital in making sure the narrative comes across so I wanted to make sure I did it justice.

During pre-production we struggled to find a location to suit our needs. We initially travelled to Lyceum Theatre as the director, Lauren Prince, liked the look of one of the back entrances to maybe use for the first scene. It quickly became very clear, however, that it would be near impossible to get decent shots here as there was basically no room for our dolly track. Finlay wouldn’t have been able to be creative with the shots at all, not the mention we were very much in pedestrians way. After struggling for a while we decided to pack everything up and scout out Merchiston for somewhere closer to home. Thankfully, we found locations for both of our scenes there; one being the back of Merchiston tower and the other a side alley round the corner. Finlay tested some shots with our lights and we were very pleased with them. Overall, despite some hiccups our pre-production went well and I think it’s a testament to both producer Klaudia keeping everyone on track, and Lauren and Finlay’s shared creative vision.

The main shoot was long but productive. I hoped Hollie set up her chosen production design, which was lovely. I also kept an eye on the script to make sure we didn’t miss any dialogue. The dolly shot took a very long time to complete and so we became very pushed for time. The dolly shot was the only shot we had for the first lines of dialogue, which meant we didn’t have nearly enough coverage. It didn’t occur to any of us to say something, so we’ve definitely learned a lot from this error. That being said, as much as there was a lack of coverage I think the shots Finlay captured are very good. Director Lauren was very clear in how she wanted each shot to look and I think that comes across.

When it came to the edit, the lack of coverage posed a huge problem. It was extremely hard to create a sense of narrative without more shots and I was struggling to create the suspense I wanted to achieve. Thankfully though, with advice from Catriona and Zoe, I cut together the footage in a non-linear fashion. By placing footage from the second scene over the first scene, I think I managed to create a sense of unease and let the audience know right away that the teacher was dodgy. As much as our group’s error in coverage meant that our film is far from perfect, I’m proud of how far the edit came and I think the narrative was slightly clearer in the end. Anne Marie’s sound design over my picture lock also elevated it to a higher standard, I think she did some really good work.

In the crit, our main feedback was that there wasn’t enough coverage and that they were struggling to get a wider sense of narrative, which I completely understand. As much as the edit came leaps and bounds, it was impossible to get around the mistake we made in shooting. Furthermore, we hadn’t captured any of the performance breaks between the dialogue which meant the film seemed very rushed. Again, we’d been so focused on getting the dolly shot done that we forgot to capture to story beyond the dialogue and a lot of nuance was lost. Taking all of this into account, however, the final film still came a very long way from the mess it was initially in after shooting and I’m very pleased with what we managed to achieve. It’s safe to say we’ve definitely learned to always make sure you have enough coverage, and remember that the scripts story isn’t just about the dialogue.

WC: 783

[midsomar-mayqueen]

Film Genre - Editing of “Natalie”

Some problems became apparent when I got to the edit. It extremely clear that we did not get enough coverage. On the shoot it hasn’t occurred to us to get more coverage of the scene covered by the dolly shot. Of that dialogue, we only had the dolly. So my initial cut simply had the dolly shot go on for roughly 1 minute without any cuts and I really wasn’t happy with it. I looked through the shots to try and find something to force a cutaway with, but no luck. Finaly, the cinematographer, tried to take a lot of responsibility for this error, but I maintain that it could’ve and should’ve occurred to any of us that we needed more coverage and we could’ve said something. It’s a group effort and we are all equally responsible at this stage in learning.

With the lack of coverage, it was really difficult to get a sense of narrative. After some tearing out of hair and advice from Zoe and Catriona, I decided to go with a non-linear approach to the edit. To break up the very long dolly shot, I inserted footage from the second scene (where the creepy teacher starts getting intimate with Natalie) over the audio of the first scene. I hoped to create a sense of unease, as well as make the narrative more clear, by doing this. It worked quite well and definitely made the final cut stronger. I learned a lot from this edit and took away some life-saving techniques that I can use in the future if these problems occur again. Non-linear editing is definitely not something I would advice doing for no reason or because you have little choice, but in the instance it definitely elevated our film.

[midsomar-mayqueen]

Film Genre - Production Group “Natalie” main shoot

Our shoot for “Natalie” was largely productive! It was, again, very annoying and difficult transporting all of our kit to Merchiston but we managed. We all chipped in to help Holly set up her (really good) production design while Finlay set up the dolly and camera. We got started a little bit late due to not knowing how something was afixed to the camera but we solved it eventually. Unfortunately we weren’t able to put LAV mics on the actors as the mics weren’t connecting to the machine properly and we didn’t know how to fix it.

Once we got going, it became clear that the dolly shot was going to take longer to get done than we anticipated. I think in total there was about 9 takes. Once it was done we were a bit anxious about the amount of time that we had left, but all the other shots were captured in roughly 2-4 takes each. Lauren and Finaly were very confident in their vision which aided in the execution of the shots that we got. I think in total we were on set for about 6 hours. I’m excited to get into the edit and see how it turns out!

[midsomar-mayqueen]

Film Genre - Production Group “Natalie” Test Shoots

My group’s test shoots for Natalie have been really productive. We were held up by casting (actor availability was a problem) but as long as I have enough to complete the edit all should be fine.

A large portion of the script takes place outside of a prom party, so we needed to find a decent location. The first attempt was outside the Lyceum Theatre (by a side entrance) but it became quickly apparent there wasn’t enough space to be able to film anything creatively. 

We were taking up a whole pavement which isn’t really ideal for us or pedestrians. There was also no space for the dolly really at all  so we were limited in our movement. It was a good opportunity for Finlay to get to grips with the black magic camera, however. 

We were kind of stuck on where to film until we decided to scout out Merchiston, mainly so it would at least be easy to get kit there. We found that the back of merchiston tower actually suited our needs pretty well, and conveniently there was a spot round the corner that we liked the idea of filming the second scene in. After taking a few test shots, we decided this was our best bet.

[midsomar-mayqueen]

Film Genre - Sound Design Project (crit)

Today we had our crit for the sound design project we completed a few weeks ago. Having it in the dubbing suite was better than the usual whole class thing was better as it allowed us to give each clip proper attention. I think it also encouraged people to speak up and offer their opinion a bit more so that’s good.

Me and Lauren were really happy with our feedback. We used the song Sinnerman by Nina Simone and made it sound like it was coming from somewhere in the character’s apartment by putting reverb and a low pass filter on it. Our intention was to create a sense of paranoia which we achieved well!

One comment we received said that there were a few elements that gave our clip and mix a peculiar edge (not necessarily a bad thing). We put a drone underneath some foley to create a sense of dread which, while a bit odd, worked well. We used a sound clip of some wind to try and create the sense of a cold echoey apartment building, as well as putting under the rain later on in the clip. Upon reflection though, there is no visible windy-ness so there was really no need for us to put it in. There was also a microphone glitch in the wind clip that we didn’t register previously. The second section of our mix, where the character is rifling through bags, could’ve been cut down a wee bit. We received a comment about how one of our rain clips drowned out some of our other foley work. It sounds a lot better when you take it out.

Overall I’m really pleased with what we made and the feedback we received. The criticisms make sense when you watch it back with a critical eye. If we spend some time mixing it, particularly the second half of the clip, we can improve it even more. Also thinking about small details, like whether or not there is visibly wind, is also something we’ve learned and can take into the future projects. I’m really glad our intent to create a sense of paranoia and dread worked.

[midsomar-mayqueen]

It: Chapter II dir. Andrés Muschietti (2019)

The most ridiculous thing I’ve ever seen. The pacing is weird, kind of plays out like a video game? Each character is separated and goes on their own quests to find a “totem” to protect them from It. As I kept whispering to my friend in the cinema, the film is really, really dumb. Why is Beverley’s only purpose to act as a love interest to either Bill or Ben? Why is literally just being mean to It, a cosmic god, the only thing that stops him from killing them? Why is Eddie still my favourite character? We just don’t know. Overall this movie was entertaining for the wrong reasons. Maybe next year we won’t have to deal with so many Stephen King film adaptations.

[midsomar-mayqueen]

Film Genre - Script Development Pt. 3

I have FINALLY managed to (I think) nail the emotional part of the script. I was previously reluctant to follow advice that said to cut certain lines of dialogue, but now that I have it feels so much more realistic and allows the performance to breathe. I’m so happy with it and can’t wait to see what the group who are working on it end up with. I visited their test shot the other day and it was so great to see the actors perform it together (their chemistry is great). My only concern is that I haven’t created much opportunity for interesting visuals, but I’m sure Teresa will make it work. 

[midsomar-mayqueen]

Film Genre - Script Development pt. 2

I’m really proud of how my script has developed. Not only has it been cathartic to work through some quite traumatic stuff in a way that makes me laugh, the personal experience I’ve inserted into it has made it very easy to develop the characters and situation. It’s reached a point now where I’m quite happy to hand the script to Teresa (the director) for her to get it made. I’m excited to see what she makes of it and how she visualises it. 

Teresa and Kellie were good enough to let me have some involvement in casting as they thought I would have good insights into delivery of lines, actor chemistry etc. Teresa ended up really liking the two people I had in mind for the roles when I wrote the script, so I’m pretty delighted. Everyone in the group is working well together and has a clear concept of what it will look and move like, so I’m confident they’ll do it justice. 

[midsomar-mayqueen]

“Sorry To Bother You” dir. Boots Riley (2018)

Post-modern Sci-Fi. LaKeith Stanfield. LaKeith Stanfield’s voice being replaced with David Cross’s. Giant horse people. This film has everything.

[midsomar-mayqueen]

“The Kitchen”, dir. Andrea Berloff (2019)

A very gritty female gangster film that should have been the powerful all-woman action film I’ve always wanted, but just isn’t. Acting terrific but writing terrible. Elisabeth Moss deserves better. SHOULD’VE BEEN A TV SERIES!!!