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.
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