Directing interviews and such

When doing the interview scenes I found that directing the cast was much easier than my previous AS work as I didn't have to stick to a rigid script. For the scenes were Duncan was acting he gave us feedback on the script and didn't feel that he would be able to deliver some lines well. We adjusted the script to lines that he would be able to deliver better. We had also briefed him on the character role and film before hand which gave him time to understand the character he would be playing and their thoughts and feelings.

When it came to setting up the interview shots we used 2 cameras on tripods so that they stayed still and didn't have any wobble. One camera was facing the actor while we used another for side shots or close ups of hand movements etc. The face on camera is to be the main substance of these scenes but with the close ups to break them up slightly and add more emotion to the characters and Short itself.

We also used special lighting to create shadows and create the more "on the spot" feel we told our actors they needed. This worked well and I think, all though not really noticeable, made the shots themselves better and created good shadows on the black curtains.

We did have some trouble framing the shots so that it didn't look like we were in a class room, we had to re arrange tables and litter etc before hand and then for the side shots we struggled to keep only the black curtain in. So instead of filming both at the same time we had to film the face on camera and then turn the actor sideways and film again for the side shots. This gave the impression that they were in a room where all walls were black curtains which is what we wanted.

This then lead to more problems as the actor would have to deliver the lines at the same pace as they previously did and we would then edit the voice over this but thankfully they did this well so I think in editing it should work out ok.

How we doing so far..

We have filmed all of the random people interviews, after a few attempts we went for the hand held camera as this gave the best effect that we wanted but was still good to watch.

We have also recorded the non-diegetic sound of a boy saying "mummy" to edit in after shooting a break in scene. We chose to do it this way so that it was clearer and we could time it better.

We have also filmed all of the house break in scenes. We did this using to mainly stationary cameras tracking Pauls movement as we felt a lot of handheld shots wouldn't create the Short that we wanted. We also noticed that a dog barks in a few of our shots, while this added to the realism of it we didn't want this in but thankfully we are going to dub the voice overs over the top so this was no problem.

We are now looking to shoot the interviews and police station scene. The police station scene is proving difficult to film as none of us can drive and getting to it during daylight hours is harder than we thought but we are sure we will find a way.

I am glad we decided not to stick to the script that much and use it more of a guide. I think this made it more realistic and some of the shots we filmed on the day worked much better than the ones on the script so if we restricted to the script then our Short wouldn't be as good.

Mental breakdown bedroom scene

 

 

As with most films they aren't shot in chronological order. All parts of the script highlighted in red were to be shot in my room as this best suited pauls bedroom and to be shot at once to save time and keep continuity. As with all scenes we shot the script is open for any changes as we felt this would help keep with the documentary feel.

Our plan for different shots

Last year we all created a shot list to go with our script that worked well for our film openings. However we decided as a group that due to the nature of our film and how we were going for a low budget film that we weren't going to have a set shot list as this may restrict us.

We knew certain shots that we were going to use but these are open to new ideas when filming. 

When doing the interview we needed to have shots of hand movements such as Ducan playing with a wedding ring and a front facing camera and side facing camera. 

The on the street interviews were going to be either handheld or set up in the same way news reporters do with interviews of people on the streets.

Shots in Pauls bedroom were going to be handheld but steady to create the "film crew feel."

All break in scene will be done on a tripod but we will decide them when we are there.

We want to incorporate zooms in as this is a clear convention of a documentary that will make ours much more realistic.

First Script

Here is the script for our short film "Confessions of a Sock-a-holic". As a group we all worked together to create this script and we all feel that to add to the realistic feel of our Short that improvisation will be allowed throughout. It isn't the finished version of our script as changes may occur if and when we feel we have better ideas or while we are filming if we think something looks better. This is more of a backbone for us to work from

“CONFESSIONS OF A SOCK-A-HOLIC”

EXT-PARK-DAY

Documentary crew edge towards young boy walking dog

DOCUMENTARY CREW (QUESTIONING):

Excuse me, have you ever heard of the Sockmonster?

RANDOM YOUNG BOY (THOUGHTFUL):

…I think so, doesn’t he steal our socks?

                                                  CUT TO:

EXT-HOUSE FRONT-DAY

Crew knock on random door

RANDOM PERSON #2 (RAISES EYEBROW):

Can I help you?

DOCUMENTARY CREW:

Quick survey; do you often find you have odd socks?

RANDOM PERSON #2 (GROANS):

Too often to even count

                                           

                                         CUT TO:

EXT-CITY-DAY

DOCUMENTARY CREW (QUESTIONING):

Have you ever heard of the Sockman?

RANDOM PERSON #3 (FROWNS SLIGHTLY):

Who? The Sockman? Never heard of him.

                 

                                               FADE TO:

INT-INTERVIEW ROOM-DAY

‘Paul Smith’/Sockman settles down in the chair and anxiously fidgets. Adjusts attire and eyes flick around the room scanning the unfamiliar setting

INTERVIEWER (QUIETLY):

You ready?

PAUL (UPTIGHT) Clenches hands in lap:

Just get on with it

INTERVIEWER (TAKES DEEP BREATH IN AND OUT AND QUESTIONS):

So Paul, tell us about this enemy of yours, the Sockmonster

                                                   CUT TO:

INT-BEDROOM-DAY

Paul refers to map and further documents referring to the Sockmonster and his movements

PAUL (V.O)(CONTINUED FROM INTERVIEW)(PASSIONATE):

He’s not just my enemy. He is society’s villain. He steals (emphasis) socks. Your socks. He steals your clothes. I mean ok, sure he doesn’t take your t-shirts or your shoes, which are more valuable, but still he takes something you have paid for. Gone. Forever.

Paul pins tags to map, marking where he has been and where to go next. Looks to hand drawn picture of the Sockmonster and screws up piece of paper in anger

INTERVIEWER (V.O)(CRITICAL):

Don’t you think that’s a bit over dramatic? You’re taking it very personally, as well. It seems to me that he is not doing this just to you, so why take it so personally?

Paul gets ready for his next mission. Gets changed into Sockman outfit

                                                     FADE TO:

INT-INTERVIEW ROOM – DAY

PAUL (O.S) (AGITATED):

Over dramatic? Because of that thing, my mother is dead. He purposely left a sock, which my mother slipped on and resulted in her death. You cannot say it’s not personal.

INTERVIEWER(SIGHS):

Do you tend to have an outfit when tracking down this so called Sockmonster.

PAUL:

This is my OnePiece, I always wear this when on duty because it is the closest thing to a full body sock.

                                               

                                                    CUT TO:

Sockman/Paul picking at the door lock and breaks in. Cowboy shot and front shot of Paul walking up the stairs. Enters bedroom and goes to open suspected sock draw. In the meantime knocks over flower vase.

LITTLE BOY (ALARMED):

Mummy! I heard something!

Paul rises and anxiously scans the room

                                                     FADE TO:

EXT-POLICE STATION-DAY

Paul leaves police station after his arrest for breaking and entering. Long shot and pan of him crossing the road.

DOCUMENTARY CREW:

You ok?

PAUL (HUSHED):

Yeah I’m fine. I’m fine.

                                                   CUT TO:

INT-INTERVIEW ROOM-DAY

INTERVIEWER:

What was Paul like as a teenager?

PAUL’S SISTER:

We never really saw eye to eye. He was there…but it was like he wasn’t.

                                                 CUT TO:

Paul pulls the map out of his bag and places it back on the wall. He then takes out the socks he collected and repairs them with socks that he had previously found.

PAUL’S SISTER (V.O):

Ever since our mum died, he’s spent all his time in his room.

                                                CUT TO:

INT-BEDROOM-DAY

Pan of Paul’s room. See posters, voodoo dolls, map and picture of his mum.

                                                    CUT TO:

INT-INTERVIEW ROOM-DAY

Paul’s Dad looks serious sat in the interview chair.  Breathes in deeply and exhales in preparation for the unrepressing of  lies and hurt over his wife’s death

INTERVIEWER:

Why don’t you tell us how your wife really died?

PAUL’S DAD (SIGHING):

I knew you would ask that.

                                                 FADE TO:

INT-HALLWAY-DAY

Paul/Sockman enters another house and climbs the stairs to accomplish another mission.

PAUL’S DAD (V.O) CONTINUED:

You see when Paul was young, he would often…misplace things; whether that be a toy or a piece of clothing

Cowboy shot and front shot of Paul climbing stairs and identifying which room to enter.

PAUL’S DAD (V.O) CONTINUED:

Well one day, his habit meant he left a sock. This sock (STARES OFF INTO SPACE) has been responsible for all the evil and bad things that have happened to my family.

Paul enters bedroom, opens bag and enters sock draw to repair lonesome socks

PAUL’S DAD (V.O) CONTINUED:

I created the Sockmonster. He doesn’t exist. I used him to distract my son from taking the blame. At age ten, what are you more likely to believe? That you left a sock and now your mother is dead or that a Sockmonster left it. Haven’t you found you have odd socks?!

Paul hears noise from down stairs and thinks the home-owner is home. He goes to check and finds that there is a sock trail all down the stairs. Paul begins to hyperventilate/have panic attack

                                               CUT/FADE TO:

INT-INTERVIEW ROOM-DAY

Paul’s dad takes deep breath and shuts his eyes

PAUL’S DAD:

I never knew that his self-induced ostracization would lead to these delusions

CUT/END 

Cast

We needed a cast that would perform well but also suited the role. We brainstormed posibilities and then narrowed it down based on who we thought were best suited. Then we chose our cast.

Paul-Me, Ben Woodier, Zak Taylor
Pauls sister-Esme or Tasmin Lucas, Abigail Witney
Pauls dad- Duncan Rowe, John Lucas, Nick Shirley

Final cast and why:

Paul-Me as I have a good understanding of how his character should behave and am the right age.
Pauls sister-Abigail Witney as she has a small bit of experience and her personallity was well suited for the role so wouldn't need to act that much, this will also hopefully make her role more realistic as she is just going to be herself
Duncan Rowe-Acting experience and is very talented, he is also the right age

Locations

Locations are very important for any film but espically for documentaries. We had to make it seem as realistic as possible but while keeping with the low budget theme.

For this we decided our own houses and on the streets would be perfect as they matched the low budget theme perfectly. So we planned to use these locations for each purpose...

My room-Pauls bedroom scene
Katies house-Break in scene
Heathers house-Break in scene
Street and other public places-On the street interviews
Drama mobiles-Interview scenes

At first we were unsure on using the mobiles as we didn't want our film to look as if it was shot in a school. However after looking at them and planning shots we realised that as long as we only had the black curtians in the shot then it looked proffesional and using the lighting equipment helped create good shadows which added to the interview look of the shots and you couldn't tell it was in a school.