DICe
handbag
files
portfolio
cigarettes/ bottle of water
folder (for Bogdan)
Tramstop
cigarettes
letter (with school logo)
watch
Office (York House)
law books from Boots
computer (Macs from 207 Wav?)
desk lamp (?)
pens
mug
files
stationery
graduation photos
picture frame
pins
calendar
diploma
diary
airline ticket
Living Room (Al`s house)
pictures (son & wife)
picture frames
Romanian/English books
Ro/Eng Dictionary
chessboard
stationery
plate
knife
fork
newspapers
Ironing table
Rubik cube (?)
Hope I got them all.
]
Monday, 14 December 2009
< Bogdan 4 >
TREATMENT
A solitary figure, BOGDAN, is waiting at a bus stop. He is sat alone and silent. He checks the time.
Bogdan storms from a building, followed by his LAWYER. He is smoking; rapidly inhaling and exhaling. His lawyer explains the need to remain calm so they can continue a meeting in which they are negotiating his family’s emigration. Bogdan is absorbed in his concern for his family; she walks away, returning to the meeting.
At home, Bogdan fills in an application. His son’s name and a school emblem can be seen atop the form. He proceeds to write an email to his son explaining what the near future may hold for him.
Bogdan pauses only once - to delete and reword a sentence.
The door of the Lawyer’s office opens and Bogdan enters. She shows him the airline reservation for his wife and son. His breathing becomes temporarily more relaxed as he sits. Bogdan expresses concern about the cultural implications for his family if and when they arrive in England. Particularly, the language barrier they will face. His speech lapses only once, and at this time the Lawyer enquires further about his personal concerns - the first truly personal question we have seen her ask of him.
Bogdan returns home to find a letter with a familiar school emblem on the envelope. Bogdan sits down in his living room to read it. Shortly, he stands quickly, screws the letter up and hurls it across the room. Some moments later he sits down, more slowly.
Bogdan is sat at a bus stop. He removes a crumpled letter from his pocket, unfolds it and studies it for a few seconds, before depositing it in a nearby trash can and sitting down once more.
Shortly a bus appears; Bogdan stands and raises his arm.
A solitary figure, BOGDAN, is waiting at a bus stop. He is sat alone and silent. He checks the time.
Bogdan storms from a building, followed by his LAWYER. He is smoking; rapidly inhaling and exhaling. His lawyer explains the need to remain calm so they can continue a meeting in which they are negotiating his family’s emigration. Bogdan is absorbed in his concern for his family; she walks away, returning to the meeting.
At home, Bogdan fills in an application. His son’s name and a school emblem can be seen atop the form. He proceeds to write an email to his son explaining what the near future may hold for him.
Bogdan pauses only once - to delete and reword a sentence.
The door of the Lawyer’s office opens and Bogdan enters. She shows him the airline reservation for his wife and son. His breathing becomes temporarily more relaxed as he sits. Bogdan expresses concern about the cultural implications for his family if and when they arrive in England. Particularly, the language barrier they will face. His speech lapses only once, and at this time the Lawyer enquires further about his personal concerns - the first truly personal question we have seen her ask of him.
Bogdan returns home to find a letter with a familiar school emblem on the envelope. Bogdan sits down in his living room to read it. Shortly, he stands quickly, screws the letter up and hurls it across the room. Some moments later he sits down, more slowly.
Bogdan is sat at a bus stop. He removes a crumpled letter from his pocket, unfolds it and studies it for a few seconds, before depositing it in a nearby trash can and sitting down once more.
Shortly a bus appears; Bogdan stands and raises his arm.
< Bogdan 3 >
Justifications of designs and processes:
CAMERA WORK:
Visual ideas of some of the scenes would be to do with isolation and loneliness, so using a surface divider (in the scenes where he is at his desk with images of his family) it would emphasise the distance between him and his family. Close up shots are also going to be used to focus on the emotion on the main characters face. Other main visual aspects is the journey of his emotions from anger to calm to worry, to do this different camera work can be applied such as making sure the characters are within the same quadrant of the screen, so that the viewer's attention doesn't jump from one object to another and focuses on the emotion of the character etc.
SOUND TREATMENT:
Ambient sound is going to be recorded to give an aspect of realism of the sets. Sound will have to reflect the scenes e.g. emotive, sensitive, audience should feels sympathetic. Intimate sound will be used for emphasising the change of scenes and moment; or even change of emotion between characters. ‘‘Hyper-real’’ sound will be used which is just exaggeration of reality (typing, footsteps, also experimenting with reverb for voice-over used for Bogdan is reading what he is typing.
EDITING:
The editing treatment would like to give a sense of realism so the shots that would be used would be making sure that it is focused on the characters, simple cuts will be used so that the viewer is not distracted by anything to fancy like wipes or spinning transitions. The type of editing that is going to be done is called invisible editing where the cuts are intended to be inconspicuous except for special dramatic shots. During post production a piece of software called fraps is intended to be used to record what happens on the desktop so we can get a scene where you can see what Bogdan is writing on his laptop but there are other options because there is a setting on the z1 camera that allows you to shoot computer screens but both will be done to see which looks better in the final edit.
LIGHT TREATMENT:
Lights will be required for the office scene as well as the house scene. These will a traditional three point lighting setup.
CAMERA WORK:
Visual ideas of some of the scenes would be to do with isolation and loneliness, so using a surface divider (in the scenes where he is at his desk with images of his family) it would emphasise the distance between him and his family. Close up shots are also going to be used to focus on the emotion on the main characters face. Other main visual aspects is the journey of his emotions from anger to calm to worry, to do this different camera work can be applied such as making sure the characters are within the same quadrant of the screen, so that the viewer's attention doesn't jump from one object to another and focuses on the emotion of the character etc.
SOUND TREATMENT:
Ambient sound is going to be recorded to give an aspect of realism of the sets. Sound will have to reflect the scenes e.g. emotive, sensitive, audience should feels sympathetic. Intimate sound will be used for emphasising the change of scenes and moment; or even change of emotion between characters. ‘‘Hyper-real’’ sound will be used which is just exaggeration of reality (typing, footsteps, also experimenting with reverb for voice-over used for Bogdan is reading what he is typing.
EDITING:
The editing treatment would like to give a sense of realism so the shots that would be used would be making sure that it is focused on the characters, simple cuts will be used so that the viewer is not distracted by anything to fancy like wipes or spinning transitions. The type of editing that is going to be done is called invisible editing where the cuts are intended to be inconspicuous except for special dramatic shots. During post production a piece of software called fraps is intended to be used to record what happens on the desktop so we can get a scene where you can see what Bogdan is writing on his laptop but there are other options because there is a setting on the z1 camera that allows you to shoot computer screens but both will be done to see which looks better in the final edit.
LIGHT TREATMENT:
Lights will be required for the office scene as well as the house scene. These will a traditional three point lighting setup.
< Bogdan 2 >
These are the roles and resresponsibilities we will be undertaking in our production.
Producer: Alan Vickerstaff – make sure everything is organised and to be sure that overlook every other role to make sure that it is being done to the best satisfaction
Director: Duncan Leigh – To input his vision on to the set and basically turn the script into a film
Editor: Abdul Seedat – Collect all the shots and put them together to make the vision of the director come alive
Lighting: Ryan Carthy – in charge of controlling natural light and adding any light to produce shadow and make sure that the scene is lit to the directors needs.
Sound manager: Umar Hussain – to make sure that all the sound effects, ambient sound and sound tracks are available for the editor to input to the final edit,
Camera: Diana Sabau – To have total control of the camera, make sure that the shots are in focus and that she can capture what the director has asked for from all different angles.
Location manager: Alan Vickerstaff – To look at the script and find the location that is most suitable and matches the description of the location as it is read in the script.
Photographer: Alan Vickerstaff – To record what is happening outside of filming and during filming by taking images of what happens during pre production, production and post production.
Production assistant: Umar Hussain – To assist the producer in case there are too many jobs for the producer in which case the production assistant would step in and help out.
Health and safety representative: Alan Vickerstaff – To go to all the locations chosen by the location manager and make sure that risk assessments are carried out and make sure that the sets are safe enough to film on.
Producer: Alan Vickerstaff – make sure everything is organised and to be sure that overlook every other role to make sure that it is being done to the best satisfaction
Director: Duncan Leigh – To input his vision on to the set and basically turn the script into a film
Editor: Abdul Seedat – Collect all the shots and put them together to make the vision of the director come alive
Lighting: Ryan Carthy – in charge of controlling natural light and adding any light to produce shadow and make sure that the scene is lit to the directors needs.
Sound manager: Umar Hussain – to make sure that all the sound effects, ambient sound and sound tracks are available for the editor to input to the final edit,
Camera: Diana Sabau – To have total control of the camera, make sure that the shots are in focus and that she can capture what the director has asked for from all different angles.
Location manager: Alan Vickerstaff – To look at the script and find the location that is most suitable and matches the description of the location as it is read in the script.
Photographer: Alan Vickerstaff – To record what is happening outside of filming and during filming by taking images of what happens during pre production, production and post production.
Production assistant: Umar Hussain – To assist the producer in case there are too many jobs for the producer in which case the production assistant would step in and help out.
Health and safety representative: Alan Vickerstaff – To go to all the locations chosen by the location manager and make sure that risk assessments are carried out and make sure that the sets are safe enough to film on.
< Bogdan >
For our first major project of the year we have been asked to produce and present a proposal for a 6 minute fictional film based on the script you have been given. The script we were given was Bogdan.
Bogdan is a man living in England, displaced for unknown reasons from his home country Romania. We journey with him as he struggles to be reunited with his wife and son, but also as he tries to prepare himself, and them, for the future that awaits them once they arrive.
Although the original story is based on the script of a third party, the story we are setting out to tell is the product of the opinions and ideas of the whole production team. A consensus emerged during early meetings that there were certain interpretations of a story revolving around immigration that were overused and/or difficult to say anything new about; for instance, racism, or poverty.
We wanted to focus on the cultural disconnection a person feels when they are displaced. ‘Bogdan’ avoids discussion of the reasons for immigration or its economic implications. It is about the struggle an individual faces irrespective of these issues.
We want our audience to walk away empathising with Bogdan as a person comparable to themselves, not as a stereotype they will dismiss. His love of his family and struggle to protect those he cares about, and the use of language as an emotive tool laying bare the deep fears that come with change, and not fitting in, are themes that transcend the politically charged implications of other films we have seen on the subject.
Bogdan is a man living in England, displaced for unknown reasons from his home country Romania. We journey with him as he struggles to be reunited with his wife and son, but also as he tries to prepare himself, and them, for the future that awaits them once they arrive.
Although the original story is based on the script of a third party, the story we are setting out to tell is the product of the opinions and ideas of the whole production team. A consensus emerged during early meetings that there were certain interpretations of a story revolving around immigration that were overused and/or difficult to say anything new about; for instance, racism, or poverty.
We wanted to focus on the cultural disconnection a person feels when they are displaced. ‘Bogdan’ avoids discussion of the reasons for immigration or its economic implications. It is about the struggle an individual faces irrespective of these issues.
We want our audience to walk away empathising with Bogdan as a person comparable to themselves, not as a stereotype they will dismiss. His love of his family and struggle to protect those he cares about, and the use of language as an emotive tool laying bare the deep fears that come with change, and not fitting in, are themes that transcend the politically charged implications of other films we have seen on the subject.
Friday, 20 November 2009
Friday, 30 October 2009
Here are some pictures of the locations that we will be filming at for our malac productions.
This location will be used for our establising shot.
This location will be used for the opening scene.
This will be the location the second location were most of our filming will be done.
This is after we cleaned the location out so we would be able to use it.
This location will be used for our establising shot.
This location will be used for the opening scene.
This will be the location the second location were most of our filming will be done.
This is after we cleaned the location out so we would be able to use it.
< Meeting with Actor>
Minutes
Tuesday 27th October 2009
Meeting with actor
• Alex(actor) contact details
• Read over script
• Any problems/questions
• Background on actor
• Costumes
• Meeting times for filming
• Issues with script
• Directions/map of location for actor
• Any questions
• Email the lines only to actor.
Tuesday 27th October 2009
Meeting with actor
• Alex(actor) contact details
• Read over script
• Any problems/questions
• Background on actor
• Costumes
• Meeting times for filming
• Issues with script
• Directions/map of location for actor
• Any questions
• Email the lines only to actor.
Thursday, 29 October 2009
< Actors 4 MALac >
In our production we required 2 actors 1 male and 1 female. We manged to get Alex by emailing jan binch to send out a message to any 1 intrested in acting in our production. It took longer to get our female actor so our group memeber alan had an old frield who is an actor that is doing performing arts at trent. Our actors are
• Alex Mousley Male actor
• Jasmine Martinez Female Actor
These are the actors we have found for our malac production.
• Alex Mousley Male actor
• Jasmine Martinez Female Actor
These are the actors we have found for our malac production.
< MALac 6 >
During Danny Kayes seminar we produced a sound script for our malac production.
Sound for MALac:
Ambience:
1. Occasional passing cars to remind audience of urban yet isolated location.
2. Passing siren when ‘MALac’ appears to stress the desperateness of man’s situation.
3. Dripping water to demonstrate filth/ desolation? Too cheesy?
4. Large amounts of silence, esp. between dialogue to emphasise nature of power/submission relationship between man and woman.
Music:
1. Misleading (potentially rom com style) optimistic feel good theme in opening scene, as true intent of story becomes clear music becomes sinister.
2. Reliance on sound effects and ambient sound for core scene with sinister strings or sounds etc returning for disturbing climax
Voices:
1. Majority dialogue recorded live rather than v.o
2. Key dialogue recorded as v.o: man scream, and opening unseen dialogue.
3. This gives more options for subversive editing
Sound effects:
1. List of key sound effects (basement)
• coin toss (online resource flashfx)
• feet on stairs (hammer on wood block?)
• dragging chair (nails on board?)
• drink pouring/fizzing (actual record)
• glass on table (wood block)
• the brief case closing (car boot!)
• light bulb flickering (sfx library)
• light bulb switch (finger clock on plastic)
• independent recording of breathing /panting of man
• slap
2. List of key sound effects (bedroom)
• tv/radio from adjacent room (vo programme about sex games?)
Sound for MALac:
Ambience:
1. Occasional passing cars to remind audience of urban yet isolated location.
2. Passing siren when ‘MALac’ appears to stress the desperateness of man’s situation.
3. Dripping water to demonstrate filth/ desolation? Too cheesy?
4. Large amounts of silence, esp. between dialogue to emphasise nature of power/submission relationship between man and woman.
Music:
1. Misleading (potentially rom com style) optimistic feel good theme in opening scene, as true intent of story becomes clear music becomes sinister.
2. Reliance on sound effects and ambient sound for core scene with sinister strings or sounds etc returning for disturbing climax
Voices:
1. Majority dialogue recorded live rather than v.o
2. Key dialogue recorded as v.o: man scream, and opening unseen dialogue.
3. This gives more options for subversive editing
Sound effects:
1. List of key sound effects (basement)
• coin toss (online resource flashfx)
• feet on stairs (hammer on wood block?)
• dragging chair (nails on board?)
• drink pouring/fizzing (actual record)
• glass on table (wood block)
• the brief case closing (car boot!)
• light bulb flickering (sfx library)
• light bulb switch (finger clock on plastic)
• independent recording of breathing /panting of man
• slap
2. List of key sound effects (bedroom)
• tv/radio from adjacent room (vo programme about sex games?)
< Final Draft Script >
MALICA
Ext.Morn.House
An expensive suburban house. We hear chatter from a radio, increasing in volume. During this we slowly pan to the house, interspersed with flashes of a dark, empty basement.
RADIO Thanks caller, great question. The fact is that a great deal of a relationship is based on power, and who is holding it in a given situation. Between consenting adults, sexual games are a great way to explore this in a fun, safe environment with your partner.
That’s all we’ve got time for, tune it to next weeks show when we’ll be talking to.... (decreases to background chatter)
Int.Morn.Kitchen
HE and SHE are going about their morning business; making coffee, getting ready for work.
HE So you’ll be able to get away early today?
SHE Shouldn’t be a problem.
HE (Suggestive) Do you think maybe we should toss for it now. Then we’ll know what we’re looking forward to, exactly?
SHE (Laughs) Ok.
HE fumbles excitedly in his pocket, and produces a coin.
HE You call it.
HE tosses the coin into the air, they both watch intently
SHE Heads
...and it drops to the floor, unseen by camera.
HE and SHE look up from the coin to meet each other’s gaze.
HE looks irritated by the outcome.
SHE looks quietly pleased.
HE I guess it’s your turn then.
SHE Is that a problem?
HE Of course not.
SHE (looking at clock) It’s late, I’ve got to go. See you later (kisses him), and don’t look so worried, I won’t do anything you wouldn’t like to (exits).
HE looks pensive and perhaps mildly worried.
As SHE turns to go, we see a somewhat malicious smile cross her face.
Int.Night.Basement
HE is sweating. Hard.
SHE stands impassive. Unconcerned.
HE fidgets to get comfortable; we see he is tied to the chair.
SHE (Bright. Breezy) Are you sure you wouldn’t like a drink?(smiles) Never too late to change your mind.
HE (Nervous)Look, you’ve had your fun, can’t we stop? This is getting uncomfortable.
SHE (playful) Shush, be quiet. It was uncomfortable for me too, you know.
HE (trying to laugh casually) Look, I did what you asked, but this…
SHE Ssshh(tone now less friendly). I’ve got something here for you. She produces a briefcase.
HE I’m asking you to stop now.
SHE You didn’t stop.
HE (mouths/mutters confusedly, lost for words)
SHE Places briefcase facing him, and opens it.
They call this model the Malica. Looks fun doesn’t it.
HE looks from the object to her, horror crossing his face. HE I don’t want to play anymore.
SHE There’s a first time for everything, that’s what you said.
HE Please...please...
SHE utterly ignores this last comment; is staring at the open briefcase. It is as though she has not even heard him.
SHE God it’s beautiful. Would you like a closer look?
HE Don’t. Don’t. I swear.
SHE That’s what it’s all about, you said. Taking it in turns to be gratified. And you were weren’t you? My turn now.
SHE removes the object, unseen by us, and looks at it. It is metallic; the light reflected on it plays on her face.
SHE Don’t worry. It won’t be anywhere visible.
HE No...
SHE shuts the case and steps forward
HE screams; it becomes muffled as we cut to the empty street outside.
Text appears as image fade to black:
Nobody will ever win the Battle of the Sexes. There's just too much fraternizing with the enemy.
-Henry Kissinger
THE END
Ext.Morn.House
An expensive suburban house. We hear chatter from a radio, increasing in volume. During this we slowly pan to the house, interspersed with flashes of a dark, empty basement.
RADIO Thanks caller, great question. The fact is that a great deal of a relationship is based on power, and who is holding it in a given situation. Between consenting adults, sexual games are a great way to explore this in a fun, safe environment with your partner.
That’s all we’ve got time for, tune it to next weeks show when we’ll be talking to.... (decreases to background chatter)
Int.Morn.Kitchen
HE and SHE are going about their morning business; making coffee, getting ready for work.
HE So you’ll be able to get away early today?
SHE Shouldn’t be a problem.
HE (Suggestive) Do you think maybe we should toss for it now. Then we’ll know what we’re looking forward to, exactly?
SHE (Laughs) Ok.
HE fumbles excitedly in his pocket, and produces a coin.
HE You call it.
HE tosses the coin into the air, they both watch intently
SHE Heads
...and it drops to the floor, unseen by camera.
HE and SHE look up from the coin to meet each other’s gaze.
HE looks irritated by the outcome.
SHE looks quietly pleased.
HE I guess it’s your turn then.
SHE Is that a problem?
HE Of course not.
SHE (looking at clock) It’s late, I’ve got to go. See you later (kisses him), and don’t look so worried, I won’t do anything you wouldn’t like to (exits).
HE looks pensive and perhaps mildly worried.
As SHE turns to go, we see a somewhat malicious smile cross her face.
Int.Night.Basement
HE is sweating. Hard.
SHE stands impassive. Unconcerned.
HE fidgets to get comfortable; we see he is tied to the chair.
SHE (Bright. Breezy) Are you sure you wouldn’t like a drink?(smiles) Never too late to change your mind.
HE (Nervous)Look, you’ve had your fun, can’t we stop? This is getting uncomfortable.
SHE (playful) Shush, be quiet. It was uncomfortable for me too, you know.
HE (trying to laugh casually) Look, I did what you asked, but this…
SHE Ssshh(tone now less friendly). I’ve got something here for you. She produces a briefcase.
HE I’m asking you to stop now.
SHE You didn’t stop.
HE (mouths/mutters confusedly, lost for words)
SHE Places briefcase facing him, and opens it.
They call this model the Malica. Looks fun doesn’t it.
HE looks from the object to her, horror crossing his face. HE I don’t want to play anymore.
SHE There’s a first time for everything, that’s what you said.
HE Please...please...
SHE utterly ignores this last comment; is staring at the open briefcase. It is as though she has not even heard him.
SHE God it’s beautiful. Would you like a closer look?
HE Don’t. Don’t. I swear.
SHE That’s what it’s all about, you said. Taking it in turns to be gratified. And you were weren’t you? My turn now.
SHE removes the object, unseen by us, and looks at it. It is metallic; the light reflected on it plays on her face.
SHE Don’t worry. It won’t be anywhere visible.
HE No...
SHE shuts the case and steps forward
HE screams; it becomes muffled as we cut to the empty street outside.
Text appears as image fade to black:
Nobody will ever win the Battle of the Sexes. There's just too much fraternizing with the enemy.
-Henry Kissinger
THE END
< MALac 5 >
These are the minutes for the meeting we had on monday with our group for our malac script.
Minutes
Monaday 26th October 2009:
• Were we going to meet up tomorrow?
• Meeting at 2oclock.
• Book the equipment out for tomorrow.
• Sort out transportation for tomorrow – how to get to location
• Follow up on actors – email them, phone them
• Back up plans for actors.
• Issues with the redraft script – discussion.
• Ideas and problems with script
• Costumes for actors
• Where the actors goanna eat.
Minutes
Monaday 26th October 2009:
• Were we going to meet up tomorrow?
• Meeting at 2oclock.
• Book the equipment out for tomorrow.
• Sort out transportation for tomorrow – how to get to location
• Follow up on actors – email them, phone them
• Back up plans for actors.
• Issues with the redraft script – discussion.
• Ideas and problems with script
• Costumes for actors
• Where the actors goanna eat.
< Practice Day >
On monday we booked the studio so we could gain experiance with the equipemnt and being comtable with our roles for the malac project. We first set up a three point lighting set and played around trying to elimate shadows.
This took along time as we had a limited knowlege of doing three point lighting but using examples we found we mangned to gain insight into this technique. This would be useful to us on filming days as it will take less time to set up this technique on location if we never used this practice day.
We also experimented with the camera so we had a better knowlege of it and what all the buttons and settings do. We also tried to do different camera techniques that we had learnt during the seminars like deep space and and depths of fields.
All in all i felt that the practice session was a good learning experiance for our group . It also helped us in getting to know how people in the group worked and i felt it helped us bond and become a stroger group.
This took along time as we had a limited knowlege of doing three point lighting but using examples we found we mangned to gain insight into this technique. This would be useful to us on filming days as it will take less time to set up this technique on location if we never used this practice day.
We also experimented with the camera so we had a better knowlege of it and what all the buttons and settings do. We also tried to do different camera techniques that we had learnt during the seminars like deep space and and depths of fields.
All in all i felt that the practice session was a good learning experiance for our group . It also helped us in getting to know how people in the group worked and i felt it helped us bond and become a stroger group.
Sunday, 25 October 2009
< MALac 4 >
This is a draft of our malac script that Duncun rewrote for our story.
MALac
Fade in from black: white text on black background:
Nobody will ever win the Battle of the Sexes. There's just too much fraternizing with the enemy.
-Henry Kissinger
Fade to black
Ext.Morn.House
An expensive suburban house. We hear chatter from a radio, increasing in volume. During this we slowly pan to the house, interspersed with flashes of a dark, empty basement.
RADIO Thanks caller, great question. The fact is that a great deal of a relationship is based on power, and who is holding it in a given situation. Between consenting adults, sexual power games are a great way to explore this in a fun, safe environment with your partner.
That’s all we’ve got time for, tune it to next weeks show when we’ll be talking to....(decreases to background chatter)
Int.Morn.Kitchen
HE and SHE are going about their morning business; making coffee, getting ready for work.
HE So you’ll be able to get away early today?
SHE Shouldn’t be a problem.
HE (Suggestive) Do you think maybe we should toss for it now. Then we’ll know what we’re looking forward to, exactly?
SHE (Laughs) Ok.
HE fumbles excitedly in his pocket, and produces a coin.
HE You call it.
HE tosses the coin into the air, they both watch intently
SHE Heads
...and it drops to the floor, unseen by camera.
HE and SHE look up from the coin to meet each others gaze.
HE looks slightly uncomfortable.
SHE looks quietly pleased.
HE I guess it’s your turn then.
SHE Is that a problem?
HE Of course not.
SHE There’s a first time for everything, that’s what you said.
HE I know
SHE (looking at clock) It’s late, I’ve got to go. See you later (kisses him), and don’t look so worried, I won’t do anything you wouldn’t like to (exits).
HE looks pensive and worried.
As SHE turns to go, we see a somewhat malicious smile cross her face.
Int.Night.Basement
HE is sweating. Hard.SHE stands impassive. Unconcerned.
HE rubs his wrist and we see HE is chained to the chair.
SHE (Bright. Breezy) Are you sure you wouldn’t like a drink?(smiles) Never too late to change your mind.
HE (Afraid)Look, you’ve had your fun, can’t we stop? This is getting uncomfortable.
SHE (playful) Shush. Be quiet. It was uncomfortable for me too, you know.
HE (trying to laugh casually) Look, I did what you asked, but this…
SHE Ssshh(tone now much less friendly). I’ve got something here for you. She produces a briefcase.
SHE Do you think you might know what it is?
HE I’m asking you to stop now.
SHE You didn’t stop.
HE (mutters confusedly, lost for words)
SHE Places briefcase facing him, and opens it.
They call this model the Malac. Looks fun doesn’t it.
HE looks from the object to her, horror crossing his face.
HE Please...please...
SHE (revelling in his discomfort now) Yes sweetness?
HE I don’t want to play anymore.
SHE utterly ignores this last comment; is staring at the open briefcase. It is as though she has not even heard him.
SHE God it’s beautiful. Would you like a closer look?
HE Don’t. Don’t. I swear.
SHE That’s what it’s all about, you said. Taking it in turns to be gratified. And you were weren’t you? My turn now.
SHE removes the object, unseen by us, and looks at it. It is metallic; the light reflected on it plays on her face.
SHE We’ve got dinner tomorrow night. At Mary’s. So don’t worry. It won’t be anywhere visible.
HE No...
SHE shuts the case and steps forward
HE screams; it becomes muffled as we cut to the empty street outside.
THE END
MALac
Fade in from black: white text on black background:
Nobody will ever win the Battle of the Sexes. There's just too much fraternizing with the enemy.
-Henry Kissinger
Fade to black
Ext.Morn.House
An expensive suburban house. We hear chatter from a radio, increasing in volume. During this we slowly pan to the house, interspersed with flashes of a dark, empty basement.
RADIO Thanks caller, great question. The fact is that a great deal of a relationship is based on power, and who is holding it in a given situation. Between consenting adults, sexual power games are a great way to explore this in a fun, safe environment with your partner.
That’s all we’ve got time for, tune it to next weeks show when we’ll be talking to....(decreases to background chatter)
Int.Morn.Kitchen
HE and SHE are going about their morning business; making coffee, getting ready for work.
HE So you’ll be able to get away early today?
SHE Shouldn’t be a problem.
HE (Suggestive) Do you think maybe we should toss for it now. Then we’ll know what we’re looking forward to, exactly?
SHE (Laughs) Ok.
HE fumbles excitedly in his pocket, and produces a coin.
HE You call it.
HE tosses the coin into the air, they both watch intently
SHE Heads
...and it drops to the floor, unseen by camera.
HE and SHE look up from the coin to meet each others gaze.
HE looks slightly uncomfortable.
SHE looks quietly pleased.
HE I guess it’s your turn then.
SHE Is that a problem?
HE Of course not.
SHE There’s a first time for everything, that’s what you said.
HE I know
SHE (looking at clock) It’s late, I’ve got to go. See you later (kisses him), and don’t look so worried, I won’t do anything you wouldn’t like to (exits).
HE looks pensive and worried.
As SHE turns to go, we see a somewhat malicious smile cross her face.
Int.Night.Basement
HE is sweating. Hard.SHE stands impassive. Unconcerned.
HE rubs his wrist and we see HE is chained to the chair.
SHE (Bright. Breezy) Are you sure you wouldn’t like a drink?(smiles) Never too late to change your mind.
HE (Afraid)Look, you’ve had your fun, can’t we stop? This is getting uncomfortable.
SHE (playful) Shush. Be quiet. It was uncomfortable for me too, you know.
HE (trying to laugh casually) Look, I did what you asked, but this…
SHE Ssshh(tone now much less friendly). I’ve got something here for you. She produces a briefcase.
SHE Do you think you might know what it is?
HE I’m asking you to stop now.
SHE You didn’t stop.
HE (mutters confusedly, lost for words)
SHE Places briefcase facing him, and opens it.
They call this model the Malac. Looks fun doesn’t it.
HE looks from the object to her, horror crossing his face.
HE Please...please...
SHE (revelling in his discomfort now) Yes sweetness?
HE I don’t want to play anymore.
SHE utterly ignores this last comment; is staring at the open briefcase. It is as though she has not even heard him.
SHE God it’s beautiful. Would you like a closer look?
HE Don’t. Don’t. I swear.
SHE That’s what it’s all about, you said. Taking it in turns to be gratified. And you were weren’t you? My turn now.
SHE removes the object, unseen by us, and looks at it. It is metallic; the light reflected on it plays on her face.
SHE We’ve got dinner tomorrow night. At Mary’s. So don’t worry. It won’t be anywhere visible.
HE No...
SHE shuts the case and steps forward
HE screams; it becomes muffled as we cut to the empty street outside.
THE END
< MALac 3 >
For our malac production we wanted to have our video look proffesional so we have sent out emails to people to find actors for our production and i have got some replys and we have sent emails back.
< MALac 2 >
On friday our group meet again to discuss our projects and the work we had so done.
These are the mintues from our meeting about what we discussed :
Minutes
Friday 23rd October 2009:
• A new member has joined the group, who will take up the role of sound recording
• We have got interested actors and actresses who have e-mailed back to take part in our film
• We have sent details and asked the actors to call back
• Completed a schedule for the filming and practice for all roles
• Tuesday at 2pm after lecture we will do a set rehearsal
• Wednesday at 9am we will do a dress rehearsal
• Monday at 9am, lighting and camera practice will be done before filming on Wednesday, by people undertaking these roles
• Script will be finalised on Monday (all changes)
• The risk assessment has been scheduled to be done on Monday as well
• We have had another discussion regarding our location, after having a sound lecture. We then decided a bedroom, but have now gone back to our original idea of the cellar due to sound and lighting purposes
• For all filming we have got permission from the technician to borrow equipment (e.g. camera, lights, mic etc) on specific days, when needed, whether for practice of actual filming.
These are the mintues from our meeting about what we discussed :
Minutes
Friday 23rd October 2009:
• A new member has joined the group, who will take up the role of sound recording
• We have got interested actors and actresses who have e-mailed back to take part in our film
• We have sent details and asked the actors to call back
• Completed a schedule for the filming and practice for all roles
• Tuesday at 2pm after lecture we will do a set rehearsal
• Wednesday at 9am we will do a dress rehearsal
• Monday at 9am, lighting and camera practice will be done before filming on Wednesday, by people undertaking these roles
• Script will be finalised on Monday (all changes)
• The risk assessment has been scheduled to be done on Monday as well
• We have had another discussion regarding our location, after having a sound lecture. We then decided a bedroom, but have now gone back to our original idea of the cellar due to sound and lighting purposes
• For all filming we have got permission from the technician to borrow equipment (e.g. camera, lights, mic etc) on specific days, when needed, whether for practice of actual filming.
< MALac >
We have been asked to make a short film as a practice project. we were put into groups by jools during the seminar . My group i was put into was Group: Umar Hussain, Diana Sabau, Ryan, Duncan, Alan Vickerstaff. After the seminar our group meet to discuss ideas.
< Location Manager >
What is a location manager?
A location manager is someone that works closely with a production company or advertising agency, and sometimes the director of a film, in order to find a suitable location for a scene in a film or TV show. They will also be part of the decision making when it comes to seeing if the location is pracitcal, in a reasonable distance and effective. The location manager negotiates with the location owner, neighbours and residents, once they have found the suitable location. They would need to also make sure the location has sufficient permits in order to film there, prepare temporary facilites for the crew and production and also arrange parking for trucks and storage.
How to become a location manager?
According to http://www.locationworks.com/howto/ they are:
• good knowledge of their own city or region
• a working knowledge of local governmental procedures
• a passable knowledge of architectural styles and periods
• an udnerstanding of the craft and requirements of each of the film unit departments.
• an understanding of Health and Safety regulations
• the ability to work long hours without complaint
• unlimited quantities of patience, tact and good humour
A location manager is someone that works closely with a production company or advertising agency, and sometimes the director of a film, in order to find a suitable location for a scene in a film or TV show. They will also be part of the decision making when it comes to seeing if the location is pracitcal, in a reasonable distance and effective. The location manager negotiates with the location owner, neighbours and residents, once they have found the suitable location. They would need to also make sure the location has sufficient permits in order to film there, prepare temporary facilites for the crew and production and also arrange parking for trucks and storage.
How to become a location manager?
According to http://www.locationworks.com/howto/ they are:
• good knowledge of their own city or region
• a working knowledge of local governmental procedures
• a passable knowledge of architectural styles and periods
• an udnerstanding of the craft and requirements of each of the film unit departments.
• an understanding of Health and Safety regulations
• the ability to work long hours without complaint
• unlimited quantities of patience, tact and good humour
< Back to Uni >
The first week back has been intresting and getting back in the groove has been ok. The coursework has excited me and im most looking forward to getting stuck into the production side of the work as i feel more engaged with that side of things. I feel that im leaning more towards the production side as im exploring this as a field i might go into in the future.
Looking at the 1st SPP essay, i believe that this will help me become focused in specifically what type of field and things i would like to focus on. So i will be looking forward to exploring this more when i do the essay. We had a lecture and seminar on this during this week to get us thinking along those lines.
All in all the its been a good week and look forward to carrying on and becoming a better practioner.
Looking at the 1st SPP essay, i believe that this will help me become focused in specifically what type of field and things i would like to focus on. So i will be looking forward to exploring this more when i do the essay. We had a lecture and seminar on this during this week to get us thinking along those lines.
All in all the its been a good week and look forward to carrying on and becoming a better practioner.
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