Film Craft; Producing by Geoffrey Macnab and Sharon Swart

This has been a really interesting book to read;it features different case studies on differnt successful producers, with them discussing what it is that they think makes a good producer as well as discussing some of the experiences that they have had.

Andrew Macdonald is one of the producers featured and his section was of particular interest to me because I have enjoyed so many of the films that he has made, such as Trainspotting and The Beach.

Macdonald discusses the idea of a 'directing producer', meaning that the producer has a really strong desire to make films; 'you have to have a wish to see them come to life'. He also talks about the differences in working independently or for a production company or studio. When working independently, you are the owner and controller of everything whereas when your working with a studio they see themselves are the producers. There are also further complications because there are more people who have opinions , and generally if a big studio is involved, so will a lot of money, adding further complications.

on film making

looking at what it says on scripts, considering how much trouble we are having with ours. Theres an interesting part on how to cut a script and Mackendrick uses one of his own experiences to illustrate some good points. One of the things he mentions is that when cutting a scene, he doesn't look at the dialogue, but the structure of the scene, analysing the characters and their feelings. He uses this to see how he can best keep these ideas and themes, but in a much more compact way.

This book is mainly aimed at directors but I have found it useful to read because it has given a perspective on what Ben will be doing and therefore what I can do that will best help him. Mackendrick discusses how when on set, the director needs to be constantly answering the question 'what do I need to see now?' with the 'I' in this question being the audience.

This is a good point and some thing that needs to be kept in focus while we shoot. With the manty redrafts of the script, and the drastic changes in the plot of the film itself, I fear that Ben has/can/will lose focus and sight of this . This is something that I will also keep in mind throughout the rest of pre prodcuction and the rest of the film making process, and remind Ben if I feel that its moving off focus.

script meeting

Today, Ben and Grace came to mine to have a meeting about the script. I wanted this to be a chance for everyone to get their thoughts in the open , but in a relaxed environment to try a rid any of the tension that had built between Ben and Grace. Grace is still experiencing issues communicating with Ben and is beginning to get frustrated and is feeling like she is no longer part of the script writing process. I hoped that in this meeting, this could change and everyone would leave feeling much better about where things were going and have a clear idea about what they needed to do.

The meeting went fine  - surprisingly so. Contrary to what Grace had said - and therefore what  I was expecting - Ben was on board to everything that Grace suggested. I don't know whether this is because he was being questioned on it or he what. But I hope that he does see through and is better at communicating with Grace and does take on her suggestions. 

I expressed my concerns with the ambition of the script and the logistics of pulling off some of the elements in it.

I also spoke about how I thought that it was particularly depressing, and how I was worried this would be off putting for an audience. I think we need to try and make the film more accessible and watchable because as it stands,  its not something that I would want to watch and if described, I don't think many other people would either. Also, suicide is a very sensitive issue and I think this needs to be taken on sensitively. Ben's response was that he had plans to make it a surrealist piece, which would make it more interesting, hopefully. And also that he agreed the suicide element needed to be done sensitively. He said that the audience wouldn't see anything it would be more suggestion, and the shots would be tasteful and artistic, not gruesome. 

First production meeting after xmas

Had my first meeting with Ben since christmas to evaluate where we are with the production and the script and discuss how we will progress and meet the deadlines set within the course and for those in the first production block.

First on the agenda the was the script. Grace has recently spoken to me about having a number of concerns with how things with going. Over Christmas, she struggled to get hold of Ben and he would cancel many of the arrangements they had made. In addition, she felt that it was becoming a bit of a one way process and that Ben was un willing to take into account any of her thoughts, ideas or concerns.

So in our production meeting, I suggested to Ben that we have a meeting specifically to go over the script, and that Grace should also be present so that everyone would have a chance to express their thoughts and that we could come to some conclusions together as to the changes that need to be made.

Secondly, we spoke about locations. Over christmas, both Ben and I had found a few possible locations, but Ben wasn't happy with any of these. In the meeting he told me that he had decided that we should build a set and that he had already discussed this with Joeley, who was currently working on plans and designs. This came as a bit of a surprise, especually as I had expressed my concerns about this and Ben had agreed. However, if Ben thinks that its best, I'm happy to go with it, as there are good things about working on a set, and we do have a good crew who work well together. So these things combined, I'm hoping that it will turn out okay !

Finally, we spoke briefly about the budget. I was upfront with Ben and said that building a set is a costly thing but also something that I don't really know how to budget. Ben said that as Joeley had been doing research already, I should speak to her.

David Lynch by Michel Chion

The end of the book; David Lynch alphabet. different adjectives or themes, alphabetically with explanation. EG

S - Setting

discusses how the hero in all of Lynch's films inhabits a distinctive setting, one that is his/her 'bubble' and is shown as an imprisoning environment.

-- the red room as a space is really important in our film;. link between the imprisoning nature of it and the above. In addition, the space of the red room has an other worldly quality (because it is fictional/purgatory) and in all of Lynch's films there is reference to, or suggestion of, another world.

Another element that Chion discusses has strong relations to our film..W - Wind.

In the script there is a lot written about wind, whether it be blowing in the fields or through the door within Michael's purgatory. Choin notes that wind is important in Lynch's film s as it is 'a current between worlds..the wind crosses every passage way, waking energies and perhaps bringing together those who should love one another'. (p186/7)

Twin Peaks

Having spoke with Ben about the inspiration behind the film, he has said that David Lynch and Twin Peaks was very significant. This is predominantly because the way that it uses dream like sequences  with the use of the red room and because of its surreal style, but also the fact that it has really effective sound track.

 

 

script v1 initial thoughts

Pleased to have a version of the script. There are a few things that stand out;

First and foremost, the water flooding the room. This is a logistical nightmare, and I hope that it leaves the script because the likely hood getting the resources together to pull this off safely, and even get permission to do it, is very small.

Overall, it is just a first draft. But i think  that it is a bit too ambitious. I think that it needs to be reigned in and our position put in perspective; we have to bare in mind what we are actually able to pull off with the resources that we have available to us.

script v1

          Working Title
               By

Grace Walker and Benjamin Wilson

INT. GENTLEMAN’S CLUB

The room is dark and rich with deep reds and browns, a
Caravaggio brought to life.

In the middle of the room a man, MICHAEL (50’s), lies
motionless on the floor.

- TRACK TOWARDS MICHAEL’s face - MICHAEL gasps for air -
CLASSICAL MUSIC SOUNDS GENTLY in b.g - MICHAEL coughs and
curls into a fetal position whilst his breathing normalizes
- CLASSICAL MUSIC FADES OUT -

- We hear only MICHAEL’s breathing and spoken word -

MICHAEL is clearly exhausted, he sits up, face in the palm
of his hand. Dropping his hand MICHAEL scans the room - c.u.
of eyes -

                    MICHAEL
          Where am I?

MICHAEL notices his attire, a black suit and tie, after an
inspection of the pockets turns up nothing he begrudgingly
accepts it. MICHAEL proceeds to stand, he refrains from
further motion when stood, he stares intently at his shoes.
MICHAEL taps the floor with a foot - NO SOUND - he gives a
stomp - NO SOUND -

c.u. of MICHAEL looking up, around, then holding a look past
centre frame, slightly shy of ’down the barrel’.

Hello?

INT. GENTLEMAN’S CLUB - LATER

MICHAEL O.O.S

Frame is empty (furnishing in b.g.), c.u.(s.a) MICHAEL steps
into frame, searching.

                    MICHAEL (CONT.)

Hello?

w.a. from behind - MICHAEL stands alone in the empty room,
he shrugs.

MICHAEL
Well.

- OMINOUS LOW RUMBLING WHITE NOISE sounds - p.o.v. style, we
TRACK TOWARDS MICHEAL from behind.

CUT TO:

(CONTINUED)

CONTINUED: 2.

MICHAEL turns back around and sees a door, the only exit to
the room. MICHAEL approaches the door - OCEAN WAVES SOFTLY
sound, INCREASING IN VOLUME UPON APPROACH OF THE DOOR -
MICHAEL’s pace slows upon hearing the ocean, he’s curious.

MICHAEL reaches the door, looks down at the handle. Looks
back to the frame centre. MICHAEL leans up against the door,
ear pressed to the wood - THE OCEAN IS CLEARER, WAVES BREAK
SOFTLY -

MICHAEL’s expression is one confusion and worry, he pulls
away from the door and looks back at the handle. MICHAEL
slowly moves his hand to the handle - A LOW HUM BUILDS -
MICHAEL places his hand on the handle - A SOMBER JAPANESE
BUDDHIST CHANT SOUNDS LOUDLY -

MICHAEL slowly turns the handle with hesitation. Upon
reaching the end MICHAEL holds still -

BEAT

MICHAEL opens the door ajar slightly leaving only a small
opening. - SILENCE (briefly) - There is only darkness beyond
the door, MICHAEL edges to opening, peering in, winds blows
through the opening. - THE OCEAN SOUNDS LOUDLY, WAVES CRASH
VIOLENTLY, THUNDER STRIKES - Sea water begins to flood
through the opening along the floor.

MICHAEL slams the door shut and backs away.
BEAT

                    WOMAN’S VOICE
               (whispered)

Michael.

MICHAEL spins around, there’s a table at the opposite end of
the room. On the table is a SMALL WOODEN CHEST, it’s worn,
old and locked with a large variety of locks.

TRACK IN ON CHEST - OMINOUS LOW RUMBLING WHITE NOISE SOUNDS

MICHAEL is disturbed by the CHEST, he looks at door, then
down to the gap at the bottom, he notices there’s no more
water on floor. MICHAEL removes his jacket, folds it and
place it at the foot of the door. He sits down, against the
door and rests head in his hands.

                    MICHAEL
          What the hell is going on.

MICHAEL closes his eyes.

(CONTINUED)

CONTINUED: 3.

INT. GENTLEMAN’S CLUB - DREAM SEQUENCE

c.a. TRACK AHEAD OF MICHAEL, fully suited up, as he walks
towards the CHEST.

TRACK TOWARDS CHEST.
c.u. The door handle turns slowly.

INT. GENTLEMAN’S CLUB

CUT TO:

MICHAEL is hunched over in a seated position, sleeping. He
lets out semi-conscious sounding grunts of distress/pain.

CUT TO:

INT. GENTLEMAN’S CLUB - DREAM SEQUENCE

The door opens behind MICHAEL as he slowly proceeds towards
the CHEST. - SOFTLY FADING IN ARE MICHAELS SCREAMS v.o. -

All of the locks on the CHEST are now gone.

INT. GENTLEMAN’S CLUB

CUT TO:

c.u. MICHAEL is twitching and letting out louder grunts of
distress/pain.

CUT TO:

INT. GENTLEMAN’S CLUB - DREAM SEQUENCE

MICHAEL extends his hand to the CHEST, his hand is covered
in blood. - MICHAELS SCREAMS GET LOUDER THE CLOSER TO THE
CHEST HE GETS -

We TRACK through the door frame into the darkness. - A WOMAN
SCREAMS -

CUT TO:

FADE TO BLACK:
      FADE IN:

INT. GENTLEMAN’S CLUB

MICHAEL jumps awake from the nightmare. He stares at the
CHEST.

MICHAEL approaches the CHEST, he crouches to the same level
as it. There’s an element of horror in MICHAELS expression
as he reaches out to touch the CHEST.

- CREAKING SOUND -

MICHAEL looks to his right and sees a YOUNG MAN sat at an
empty table, with an empty chair opposite him.

The YOUNG MAN (20’s) is dressed in the same suit and tie as
MICHAEL. The YOUNG MAN has vacant look about him, he stares
at a spot across the room from him.

BEAT

          MICHAEL
Who are you?

          MICHAEL (CONT.)
Hello? Kid? How’d you get here?

          Hello, can you hear me?
MICHAEL sighs.

MICHAEL looks down a moment, then back at the CHEST as he
begins to get up from his crouching position. MICHAEL looks
back at the YOUNG MAN, the YOUNG MAN is staring right at
MICHAEL. MICHAEL is startled and pauses.

- YOUNG MAN b.g. o.o.f / MICHAEL f.g c.u. back of head - The
YOUNG MAN turns his head slowly and unnaturally back to it’s
previous position.

          MICHAEL (V.O.)
     (in quick succession,
     overlapping)

Where am I/Who are you/What did I
do/Why won’t you talk/Who’s doing
this to me/Why is this happening?

4.

CUT TO:

INT. GENTLEMAN’S CLUB - LATER

MICHAEL is seated opposite the YOUNG MAN. MICHAEL is sizing
the YOUNG MAN up.

                    YOUNG MAN
          You’re dreaming-

                    MICHAEL
               (interrupting)

          -Jesus!
The YOUNG MAN continues to stare blankly into the distance.

                    MICHAEL
          Sorry, it’s just.. you spoke, but..

          hello? You listening?

MICHAEL waves his arm back and forth past the YOUNG MAN’s
line of sight.

BEAT

          MICHAEL (CONT.)
     (aggravated)

.. What is this? .. Who are you,
and where am I?

MICHAEL

          Ughh!
MICHEAL sighs and rest his head in his hand.
Silence.

                    YOUNG MAN
          You’re dreaming;

MICHAEL peers at the YOUNG MAN.

                    YOUNG MAN (CONT.)
          you find yourself lost in the cold.

Wind softly blows over MICHAEL, it’s like a wave of
relaxation.

                    YOUNG MAN (CONT.)
          You’re lost in the coldest night of
          winter, but you no longer feel it’s

          grasp.
Snow begins to blow in with the wind.

(CONTINUED)

5.

CONTINUED:

6.

                    YOUNG MAN (CONT.)
          You’re lost because there is

          nothing in front, nothing behind.
          You only see the light.

CROSS FADE - A bright light glows across MICHAEL’s face,
whitening the screen.

FADE TO:

EXT. PITCH BLACK SNOW TRAIL
Black screen.

A light pulses in the foreground (for two BEATS),
brightening the darkness, there is a narrow snow trail
leading off into the darkness. - WITH LIGHT, CLASSIC MUSIC
FADES IN THEN BACK OUT AGAIN -

                    YOUNG MAN (V.O.)
          Further and further away.

The light pulses again, further into the b.g. this time. -
THE CLASSIC MUSIC FADES IN AND OUT WITH LIGHT, ALSO IT’S
QUIETER, RELATIVE TO THE LIGHTS DISTANCE -

- The sound of the WINTER WIND begins to pick up -

                    YOUNG MAN (V.O.)
               (quiet)

          Harder and harder to see the path.

The light pulses further away in the b.g., the light
smaller, lighting less of the snow trail. The light pulses
again dimly, lost in far b.g.

                    YOUNG MAN (V.O.)
               (whisper)

Lost.

No more light, only darkness. - THE WIND WHISTLES SHARPLY,
FAINT CRY WHISPER THROUGH, A SCREAM FLIES BY LIKE A SPEEDING
TRAIN -

                    WOMAN’S VOICE
          Michael! HELP!

TRANSITION // We TRACK BACKWARDS out of the darkness into -
                                              TRANSITION TO:

INT. GENTLEMAN’S CLUB

- the GENTLEMAN’S CLUB through the door which MICHAEL is
stood holding open; he’s in a dazed state. MICHAEL snaps
back into consciousness and hurriedly slams the door shut.
He look over to the table seeing himself sat with the YOUNG
MAN.

INT. GENTLEMAN’S CLUB - LATER
MICHAEL is sat with the YOUNG MAN in a dazed state.

                    YOUNG MAN
          Do you want to hear another story?

MICHAEL slowly lulls, then begins to wake from the dazed
state.

                    MICHAEL
          What was that? How’d you do that?

                    YOUNG MAN
          That has come to be, that was your

          how. This will be your why.
                    MICHAEL

          Why?
The YOUNG MAN smiles.

YOUNG MAN
Why.

Underneath the table, the YOUNG MAN reveals a knife, he
keeps it hidden pressed against his lap.

A tear of blood rolls down the YOUNG MAN’s cheek.

The YOUNG MAN’s attention is caught by something lurking in
the shadows on the other side of the room, near to where
he’s been staring.

In the shadows is the figure of a woman, water runs off her.

MICHAEL turns his head side on to see behind himself, he’s
too terrified to turn around fully.

                    YOUNG MAN
          True terror does lie behind you.

          You feel it, creeping towards you.

(CONTINUED)

7.

CUT TO:

CONTINUED: 8.

Across the table sea water spills across and over MICHAEL
resting hands. MICHAEL turns back and look at the water in
horror.

                    YOUNG MAN (CONT.)
          When it had no memory you’d close

          your eyes and build a din. Each
          wave is louder than the last. Lost.

Whilst telling his story, the YOUNG MAN can be heard less
and less, the sound of the ocean comes back into the
foreground of the sound, canceling out all other noise.

                    MICHAEL
               (silence)

          I can’t hear you. I CAN’T HEAR YOU!
The YOUNG MAN smiles as he continues his story.

CUT TO - another MICHAEL is curiously moving closer towards
the door, he’s looking at the handle.

MONTAGE -

- MICHAEL sat at the table is getting more aggravated and
upset by the inability to hear and by sounds of the ocean.

                    MICHAEL
               (silence)

          STOP! MAKE IT STOP! PLEASE!

- MICHAEL by the door approaches the door, he looks at his
hands, they’re covered in blood. MICHAEL places a hand on
the handle and slowly begins to turn it.

- The YOUNG MAN becomes more sinister in the way he tells
his story.

- The WOMAN in the b.g. flails around psychotically,
screaming (silence).

MICHAEL at the table notices the other MICHAEL opening the
door.

                    MICHAEL
               (silence)

NO! STOP!

MICHAEL at the table extends his arm towards the other
MICHAEL.

The YOUNG MAN is no longer talking, he has the knife raised,
readied for an attack.

(CONTINUED)

CONTINUED: 9.

MICHAEL by the door goes through the door. The door slams
shut behind him.

- THE DIN OF THE OCEAN STORM STOPS. DEAD SILENCE. -
- A METALLIC CLANG SOUNDS -

MICHAEL looks back to the YOUNG MAN, but he’s no longer
there, instead there’s a bloodied knife on the table.

MICHAEL looks down at his hands. blood starts to pour down
from his sleeved area, over his hands onto the table.

- SOUND OF LOCKS SPRINGING FREE AND HITTING A TABLE -
MICHAEL looks to where the knife was and now sits the SMALL
CHEST, unlocked with the locks spread around it.

MICHAEL pulls the CHEST towards him and opens it. MICHAEL
pulls out a picture of him and a woman sat on a beach,
hugging tentatively.

MICHAEL begins to cry.

c.u. A woman’s hands as they glide across the table, remove
the picture from MICHAEL’s hand and then proceed to hold his
hand.