Category: Ideas

Posted in General, Ideas, Post by Sylvia - Director

Glue 0_o

Posted on by Sylvia

Today myself and Joel met up in the library to knock out the new glue-sniffing dream sequence. I bounced ideas off him and he was an excellent scribe. We decided not to write all the camera angles and details until we got the go ahead from the group, learning from experience that if we spend a lot of time on something before doing so, it usually gets changed or scrapped.

We watched clips from Trainspotting for inspiration and I think the ideas we got from that will shine through more when I write the shooting script for the Glue sequence.

 

Annnnd here it is :] in bullet point form :p

  • Linda sniffs the glue.
  • As she phases out, Linda turns over to find the den empty but one red balloon floating.
  • The balloon floats towards the door.
  • Linda follows the balloon to the door.
  • She opens the door and lots of red balloons float into the room.
  • Linda is engulfed in red balloons and she fights her way through them till we see one red balloon left.
  • As the balloon moves away from the camera we are now in the same girls bathroom as the one earlier in the story.
  • We hear whimpering coming from one of the toilet cubicles.
  • The cubicle door opens.
  • Susan is sat there covered in bruises and blood.
  • Linda looks at Susan completely confused.
  • “Susan?”
  • We see Susan’s eyes open.
  • Susan starts panicking and recoils into the cubicle in fear of Linda.
  • The cubicle door shuts and locks.
  • Linda tries to get into the cubicle but fails.
  • She then goes to the next cubicle and peers over.
  • Mary is sitting on the toilet.
  • She slowly (creepily – with blank eyes) looks up at Linda.
  • She then looks at the door.
  • The door opens and we see Linda standing in front of it. (The Linda who took the glue is still peering over the cubicle wall).
  • Mary gets up and walks towards Linda who backs out.
  • The cubicle door shuts.
  • Linda sits back down in the cubicle.
  • Mary distorted: “She shouldn’t have dragged you into this Susan”
  • Linda slowly opens the cubicle door and walks into the main part of the toilet.
  • We hear crowd chants of “LINDA! LINDA!” as the camera goes around her 360 degrees.
  • Linda smiles and starts savouring the moment, her arms are aloft as if saluting the crowd and enjoying stage presence. She laughs.
  • We see a glare in her eye.
  • Slowly fades to Spike repeating Linda’s name until she comes around.
  • Linda is being soothed by Spike on the mattress in the den.
  • Spike holds Linda “Whoah, we lost you for a bit there, I told Shug not to give you any.”
  • We zoom in slowly on their embrace and then zoom out to Spike on the mattress.
  • Spike moves to reveal Moon on the mattress with him.
  • Linda is suddenly stood at the end of the bed, “What are you doing!!”
  • Moon: “Fuck off! You’re not one of us!!, go back to your girlfriend Susan!”
  • Fade to Susan and Linda walking hand in hand along past the same bench the punks sat on earlier during the time lapse.
  • Linda sees the same red balloon in the distance and they run towards it.
  • It is a fun chase game.
  • The balloon remains the same distance away so Linda cannot get it and its starts appearing in opposite directions. They split up to catch it.
  • Linda turns around to see Susan and Spike sat together on the park bench.
  • Spike and Susan slowly move in towards each other intercutting with shots of a safety pin coming towards a red balloon.
  • The safety pin bursts the balloon just as their lips touch.
  • Quick cut to the Den to see Linda wake up suddenly.
  • She then leans across the mattress to be sick/dry heave.
  • End Scene.

 

Yesterday due to our producer not being able to return to Lincoln thanks to the icy climate on the roads, Helen (P.A.) and myself met up to redo the shooting schedule as everything had been pushed forward due to weather, and the existing schedule was not detailed enough, without enough consideration for the actor availability etc. So THAT was a fun two hours+ of working through the scenes and thinking through logistics of when, who, with what, wearing what, has she dyed her hair yet, is that enough time to shoot that many scenes, will we have set in time? etc. Head-ache.

But it was very worthwhile.

 

TOMORROW, editing begins, as Jack and I will meet in the edit suites to get the ball rolling on editing with what we’ve got so far. I think it will be a massive help to make this process gradual, as A) we are going to have a hell lotta footage to work through, and B) the edit suites aren’t fully booked this early on.

 

Sooo yeah, I’ve been busy. Third year is mega.

Posted in Ideas, Influence, Post by Amy - Set Designer

Research: Sherlock, Camera and Technique.

Posted on by

I may not be in the technical area of the project but I am on the Set Team. This means that I have to be aware of camera movements and consult with Joel and Sylvia at all times at make sure that the set we design is convenient for their vision.

We were asked to look at “A Scandal in Belgravia” (dir Paul McGuigan) from the second series of Sherlock  (2010 – present, BBC, created by Steven Moffat and Mark Gatiss).

Source: BBC iPlayer. Date accessed: 12th January 2012.

[01:18 – 01:19]  Despite this being pat of the “Previously” segment of the episode I felt it interesting to note the use of the focus. To some it seems obvious to use such a technique: focus on one area of the mise-en-scene and the focus onto another part, changing the focus of the original point of sight immediately. However, I do believe this is a technique we can use.

 

 

[09:09 – 09:14] The transition from present to past is done exquisitely here with camera doing a 360-degree shot on in front of the character instead of around him. It is a striking shot and even though film and television have been around for several years now it just goes to show that there are still a few tricks. Since there are flashback scenes in the script it only seems logical that we find a worthy camera technique to make the transition into said flashbacks rather than leaving it to the editing. If we have a solid camera technique, it would be a major advantage, not just for flashbacks but for transitions in general.

 

 

[30:39] A great shot from the safe. As Sherlock presses the buttons, they come up on the screen. Perhaps not relevant to the project but I’m hopeful that a similar technique can be used, like with the mirror scene.

 

 

[33:33] Sherlock is drugged and the camera is side ways on the floor as he hits the ground.

[34:38 – 34:42] The same 360 technique is used here as he tries to get up. It really adds something to his state of mind. Sherlock is usually so level-headed. But he has just been out-done. Probably for the very first time. So the shot not only signifies the effects from the drug but also the effects of Irene Adler, the woman who beat him.

[35:48] Sherlock is having an hallucination because of the drug and a bed comes out of nowhere . It is not as if Sherlock himself is falling, but that the bed has risen up to greet him. then shot then goes back to reveal him in his bedroom.

 

 

I think we can use all of these techniques in the film at some point, or at least give them a go! Especially the last one with the bed. It will go very nicely in the Union Jack Scene.