Contextual Studies notes16/10/14

Ideology – Re – Imaging the Everyday.

Image: Map – The Mercutor Projection – an image of the earth used for navigation. This shows a particular view of the world however its not the only view that helps us understand that this is what the earth looks like.

Image : The Peters Projection – to show areas of landmass. It represents how we think about the scale of countries.

nformation + Values = Ideology


“Maps are never value – free images… Both in the selectivity of their content and in their signs and styles of representation, maps are a way of conceiving, articulating and structuring the human world, which is biased towards, promoted by, and exerts influence upon sets of social relations. By accepting such premises it becomes easier to see how appropriate they are to manipulation by the powerful in society”
J.B. Harley –‘Maps Knowledge and power’. The iconography of landscape’


Image: McArthur’s Universal Corrective map of the world – Australia is central in the map as its creator was Australian.

• Images of the world oftentimes seeming quite straightforward, conventional and natural, usually embody or promote a set of values – that sometimes go unnoticed.
  

• An Ideological analysis aims to identify what these unnoticed values are.
  

• Image: Black and white photo of a woman’s back and a woman lying on a bed. “These awe inspiring, beautiful photographs of women are extremely oppressive. They fit the old traditions of women as possession and woman as giver and sacrifice.. In this aesthetically veiled form of misogyny, the artist expects his wife to take of her clothing, then he photographs her naked (politely known as nude), and after showing everybody the resulting pictures he gets famous… The subtle practice of capturing, exposing and exhibiting one’s wife is praised as sensitive”. Diane Neumaier on Harry Callahan.
  

Capital ideology.

• Image: The Show the Apprentice –
  

• Capitalism doesn’t necessarily reflect the full range of human values, but at the same time tend to reduce all values to profit, efficiency and control.
  

• Competition - as the key to success / Life as a continual competition: survival of the fittest.
  

• The perception of a certain body image as successful.
  

• Dominant Ideology – Film poster, ‘War of the Worlds’ starring Tom Cruise.
  

• Film Clip: War of the Worlds - “The ideology of (post 9/11) America – The invaders are a wake up call to face fears as we confront a force intent on destroying our way of life: Steven Spielberg.
  

• “The ideology construction of subject can ‘free individuals’, free to exchange their labour, is important to capitalist modes of production” Louis Althusser.
  

• Image: TV – Harmless entertainment / ‘Friends’ – Lulling mass audience into passive inaction.
  

• Image : TV – ‘Shameless’ – Channel 4
  

• Ideology of class – programmes made on representation of real life made to possible show us ‘how not to live’
  

• Image: ‘The Thinker’ – sculpture. As Individuals, we experience ourselves as possessing a consciousness which enables us to freely form our own ideas.
  

• Ideology - ‘The Subject’ – Louis Althusser – but this experience is an imaginary + Ideological one, based on misrecognition or misperception – (From Ideology + the Ideological state.)
  

• Image: Film – Fight Club – “We buy things we don’t need, with money we don’t have to impress people we don’t like”.
  

• The Self as Construct: The self is constructed within the context of ‘mass culture’ (and subculture) being run by corporations and media.
  

• There is a corporate – led basis to identity formation.
  

• The ever – present aspect of Western free market countries ideology is consumerism.
  

• “We are recipients of entertainment, shopping for a self” (Lyon,2000).
  
  
  
  

On the other Hand:

• “Consumption is the very arena in which culture is fought over and liked into shape.. To manage without rituals [of consumption] is to manage without clear meanings and possibly without meanings”. Mary Douglas, ‘The World of Goods’
  

Image: Barbara Gruger -





Image: V for Vendetta – Blowing up the house of parliament.

Contextual Studies Notes 13/11/2014

Contextual Studies Lecture / Psychoanalysis

• Psychoanalysis can be interpreted as a ‘talking therapy’, revealing deeper meanings or hidden motivations within our behaviour.

• Psychoanalysis can be used as a tool, which the arts can be analysed.

• The arts express the patterns and problems of the psyche. We can understand the psyche and even society through (psycho) analysing the arts. 

Sigmund Freud – 1856 – 1939

• Freud was an Austrian neurologist and the founder of psychoanalysis, who created an entirely new approach to the understanding of the human personality. He is regarded as one of the most influential - and controversial - minds of the 20th century

A man with his head in the sand – This image is used to denote the term of ‘The Unconscious’.

• The Unconscious can be seen as our buried thoughts. /
  
  
• Traumatic experience, Repression. The return of the repressed – pathogenic patterns.
  
  
• Sublimation – is the transformation of unwanted impulses into something less harmful. This can simply be a distracting release or may be a constructive and valuable piece of work. When we are faced with the dissonance of uncomfortable thoughts, we create psychic energy.

• Alien is a 1979 science-fiction horror film directed by Ridley Scott. A film using symbols of repression, with urges and drives of the human psyche.

•  Spellbound directed by A. Hitchcock. Describing how our dreams are a safe outlet for trauma / instinct. They can provide access to the ‘Unconscious’. Full of symbolic narrative.

• The arts are also a symbolic narrative.The Production of Fantasy – Robert C Allen – Channels of disclosure, Reassembled – “When we watch a film it is as if we were somehow dreaming”.

• “The cinema situation reproduces the hallucinatiory power of a dream – it turns perception into something that looks like a hallucination”.

• "Psychoanalysis, as a theory of human psychology, decribes the ways in which the small human being comes to develop a specific personality and sexual identity within the larger network of social relations called culture. It takes as its object the mechanisms of the unconscious---- resistance, repression, sexuality, and the Oedipus complex--- and seeks to analyze the fundamental structures of desire that underlie all human activity."

• Regression – Within animation we area confronted with a visual language that is free to explore our child like experiences. This is animation for adults as well as children. We regress to our childhood experiences.

• Clip: The Simpsons – Shock Therapy.

• http://www.youtube.com/watch?v=eP4INdt_-fk

• In this clip of the Simpsons, the act is less shocking due to it being an animation, if this act was to be carried out in another medium, such as film it would be horrific to watch.

• Schadenfreude is pleasure derived from the misfortunes of others. This word is taken from German and literally means 'harm-joy.' It is the feeling of joy or pleasure when one sees another fail or suffer misfortune. 

• Id, ego, and super-ego are the three parts of the psychic apparatus defined in Sigmund Freud's structural model of the psyche; they are the three theoretical constructs in terms of whose activity and interaction our mental life is described. 

• According to this model of the psyche, the id is the set of uncoordinated instinctual trends;

• The super-ego plays the critical and moralizing role; and
  
  
• The ego is the organised, realistic part that mediates between the desires of the id and the super-ego. The super-ego can stop one from doing certain things that one's id may want to do.
  
  
• Eg. The Father – the Judge – law
• The Mother – the Jury – morality
• The Child – the deviant – amorality

• Film: The Adjustment Bureau.
  
• Clip: Jeff Dunham – Puppetry can be used as a repressive element to express desire or a cathartic release.
  
• http://www.youtube.com/watch?v=zKg_Gb74x7M
  
  
• Look up - https://www.geneseo.edu/~easton/humanities/Freud.htm
  
  
• Pleasure and Punishment of Others. Image of a 15^th Century Painting of a prisoner being taken to execution.
  

• The Oedipus Complex: The Oedipal complex is a term used by Sigmund Freud in his theory of psychosexual stages of development to describe a boy's feelings of desire for his mother and jealously and anger towards his father. Essentially, a boy feels like he is in competition with his father for possession of his mother. He views his father as a rival for her attentions and affections.

• Clip: Pub - Wilkinson fight for kisses
• http://www.youtube.com/watch?v=ZkBtVQbSg8w
• The Shinning - http://www.youtube.com/watch?v=vWJ4NqVgpcc

Director's Brief Part 1 (My Chosen Director)

Intro:

The Director, the most important job when it comes to makes any specific art form of media such as; Film, Television, and some aspects of Theatre.

The the media of film, I have many directors that I admire not only for their work but in the way that they present their work by showing whats known as a voice. A term used to describe the Director's work to show his or her certain style and uniqueness to the film industry.

My Chosen Director:

Peter Jackson

What other work has this Director done?

• The Hobbit: The Battle of the Five Armies 2014
• The Hobbit: The Desolation of Smaug 2013
• The Hobbit: An Unexpected Journey 2012
• King Kong 360 3-D (Short) 2010
• The Lovely Bones 2009
• Crossing the Line (Short) 2008/I
• King Kong 2005
• The Lost Spider Pit Sequence (Video short) 2005
• The Lord of the Rings: The Return of the King 2003
• The Lord of the Rings: The Two Towers 2002
• The Lord of the Rings: The Fellowship of the Ring 2001
• The Making of 'The Frighteners' (Video documentary) 1998
• The Frighteners 1996
• Forgotten Silver (TV Movie) 1995
• Heavenly Creatures 1994
• Dead Alive 1992
• Meet the Feebles 1989
• Bad Taste 1987
• The Valley (Short) 1976

List of key stylistic and narrative aspects to the Director's work:

• Background establishing shots (mostly to show where the movie takes place and where it's leading to)
• A sneaky cameo or two (like Stan Lee in the Marvel Films where he usually makes a cameo in some part of the film, Peter Jackson does the same in a few of his.

E.G

The Frighteners (1996) - He makes a cameo dressed up like a punkish tough guy and calls Michel J Fox an asshole.

The Fellowship of The Ring (2001) - Like at the beginning of (The Hobbit - The Desolation of Smaug) he plays a hooded man with a carrot, he did the same in The Fellowship.

The Two Towers (2002) - Peter plays a warrior throwing a spear.

Return of The King (2003) - He plays one of the evil men being shot with one of Legolas's arrows.

• A dark edge - in his past work Peter Jackson had a love for the horror genre for it's goriness and one of his first films he directed was a film called Bad Taste (1987). But the way he twists that genre and makes it his own is how he uses everyday items and turns them into film props and effects to bring life into his films.

E.G - In this shot below, (Return of The King) Aragon is facing a giant Troll in CGI but in one shot the troll is CGI but when it came to the moment when the Troll steps on him, there is a hand made foot in the next shot where Aragon stabs it. For some film makers including Mr Jackson, that is a cleaver and great way to save on a movies budget as CGI was quite expensive.

• Mostly CGI - Andy Circus helped Peter though most of his projects, especially when it came to The Lord of The Ring Trilogy. Andy played the character Gollum in the films and because of the motion capture with a dash of CGI,  the film one best virtual performance in 2003 at the MTV Movie Awards. Andy Circus then appeared in Peter's later work as King Kong in 2005.

• Peter Jacksons Cinematographer - Andrew Lesnie

Andrew Lesnie was Peter Jackson Cinematographer in all three Lord of The Rings films. His cinematography to me was very background worshiping as it mostly consisted of the main characters traveling amongst beautiful backgrounds, here are a few examples for what I think shows some of the best out of Peter's films:

• His attention to detail - costumes and designs

Middle Earth for Lord of The Rings

The Frighteners - with dead people as spirits being all bashed up a covers with blood as to represent how they died.

King Kong - The costumes and setting is to represent the year (1933) the same year that the original King Kong came out.

King Kong (2005)

King Kong (1933)

Why I chose this Director:

Not only for the fact that he has Directed one of my favourite trilogies (The Lord of The Rings) but also the way he is so detected to his work and everyone on set always have a good time working with him. He takes the background of any location and uses it to his advantage to make any shot look the best it can truly be, which in some ways got me inspired to check out other locations in my area to do more films in a more creative way.

What I also admire about him is that even though he likes trying CGI shots for some of his big budget movies, he also likes to take, how he clams to be, the old school routine by using simple methods of film making and turning them into a fantastic piece of work. Return of The King, King Kong and The Hobbit have over 2000 CGI shots but The Fellowship of The Ring only had 550 so most of The Fellowship's creativity was throughout mostly the stunts, costumes, props, as well as standard effects.

But mostly I love the way Peter represents things in his films like for instance, Lord of The Rings sort of because an advertisement itself by showing lots of New Zealand where the film takes place making people from all over the world wanting to go a see the country for themselves.

This became a popular joke in the hit HBO series The Flight of The Concords made in 2007 based on the band itself. In a few episodes they show in an office posters of New Zealand and in one take it show the poster advertising… "New Zealand, It's Like Lord of The Rings".

All in all I think Peter Jackson is a fantastic director and his films have always made a mark in my heart that are here to stay, Lord of The Rings brought my family together and closer than ever before and is still the family favourite to this day. It made my sister to take an adventure all around New Zealand and is still her favourite holiday.

One day I to want to venture forth into the great Middle Earth that is New Zealand, and I some want to create work just like his, and to be just like him.

Directing Workshop 02/12/14

Our first practice of being a Director the most important person within a filming project.

Short Film Evaluation - Research and Development

Intro:
I always wanted to make a film portraying Death as a charter like the writer Sir Terry Pratchett in his Discworld Series. To me they are full of wonder and magic and quite a read for me when I was in secondary school.


Sir Terry Pratchett - Writer

Death (The Colour of Magic - 2008)
















I thought really hard about my story and how I could create "A Meeting" to involve Death as one of my characters, but I also had to think of a second character to go with him.

So I had an idea that Death had a family, a son even, and I had the perfect actors in mind. My good friend Ben Fleury as the son and Dave Tuner as Death himself.

Ben Fleury - The Son (Thomas)

Dave Turner - Death

Research and Development:

Pitch:

Living with Death. Is that even possible? Find out how one choice can make all the difference when The Reaper's Son makes the ultimate sacrifice.

The Story: I thought about the story as a whole when it came to the genre, I came up with a Thriller Comedy genre to get the right edge I needed to produce the right amount of dark humour for my short film.

To help with my production I researched a little bit of the genre I would be targeting with, so I started watch a couple of films with the right amount of dark humour that I needed.

These are three of the films I saw to help give me inspiration for my film:

• Terry Pratchetts's The Hogfather Directed by Vadim Jean - 2006
• Tim Burton's Corpse Bride - 2005
• Jonathan Lynn's Clue - 1985

Research on the art of screenwriting:
There were many inspirations for the screenwriting process for me, The Hogfather was defiantly one of them, the way it used magical and dark humours language to form a conversation as well as telling the story really got me hooked which is what I wanted to do with my film.
Like the beginning of the Hogfather, it's a great way to start a story by telling us where the story takes place in a very creative and cleaver way and at the end, it's quite funny.
For a book to be turned to a 2 parter series, for me, it was brilliant and Vadim Jean, in my opinion, did a great adaption.

http://www.springfieldspringfield.co.uk/movie_script.php?movie=hogfather


The major part of my research was lacteally the lectures we had from Steve Combs, I found him to be very interesting, since he is a screenwriter I feel that we couldn't have learned from anyone better.
Here is his website:
http://stevecoombeswriter.co.uk

He worked on a show called Outlaws which was BAFTA nominated, and he even made an appearance in one episode. He said "the best way to write a comedy script is to not make one joke but keep on joking though out the script, make it a continuous joke!" (Steve Combs, 2014).

I tried to adapt that to my script and at some points DID in fact make it better, and the dark humour was amped up a notch which I liked. Thanks to his advise and feedback I was able to write and edit my first proper Final Draft Script.

From his lectures I took many notes and here are some that helped me with my screen writing:

Screen Writing 3 with Steve Coombes / Lecture Notes – 07/10/2014

“A character is someone you know, but just doesn’t exist”

Clip: Annie Hall, Part 10 directed by woody Allen.

The premise relates to how through art, everything can be made perfect because life isn’t!

Time &Time Scale:

·        Think about what time period your script will take place over?

·        Does your story begin with the ending or does it begin at the beginning?

·        Have you considered using Flashbacks? If so, flashbacks need to be introduced early on   in your film not later.

·        Voice-overs at the start of a film can be a useful device to indicate and tell a back-story to

      your character/s.

·      ‘Songtage’, is a method of editing a series of events / clips together with music, allowing the audience to be carried along with the emotion & lyrics of the music. 

·         Split screen when used effectively can have different stories playing on screen at one time.

·         Snapshots are useful for quick story telling. E.g. Seinfeld episode ‘The Contest” – Sleeping scene.

Storytelling:

·        ‘Hill Street Blues’ was a police detective series aired in the 80’s which was the first show to introduce the concept of telling 4 stories in 1 episode over 1 hour.

·         Storytelling is like a ball. When you throw the ball up in the air it can engage an audience the more ‘air’, you give it. However, you must catch the ball to keep an audience. 

Trying to throw several balls can be compared to trying to tell several stories at one time. If you drop one it can lead to an audience switching off!

·         Clip: 

      Annie Hall: ‘The Universe is expanding’ scene.

·         This is a concept about tragedy. If it is a good tragedy you will want to watch it! Our biggest fear like the young Woody Allen in this scene is that everything is pointless, so what’s the point in anything! We are all doomed!!

Scenes & Acts:

·         A scene is made up of acts

·        Seinfeld is a 2 Act structure made up of 1 commercial break and 2 12 min acts.

·        A 4 Act structure would normally have 3 commercial breaks.

·       Jokes have a 3 Act Structure.

     Syd Field created the ‘4 Act drama schema’ this could be considered as a checklist when

     writing a script / screenplay.

     

      

·      You need to have your ‘inciting incident’ within the first 5 pages of the script.

·      An inciting incident is the thing that kicks off the story. It could be an event or an arrival (like the introduction of Buzz Light Year in Toy Story).

·      Normally in a great film you would find 5 or 6 great moments. This can be called a ‘5 plot

    point structure’.

·      Clip: Inciting Incidents, Supercut – 50 movie moments.

·      Mid – Point: 

This is where the story turns – you think the story is about one thing when actually at the    mid point it turns out to be about something else. E.g. Psycho has a mid point where the story changes from a film about a female robber to a male serial killer. Casablanca’s mid point doesn’t happen exactly in the middle of the film.

·      Pitch 1 & 2: 

    These are heightened moments of tensions

·      Climax: 

    This is when the story turns around. You shouldn’t predict how the story is going to end.

The Plot:

·       A plot is what happens!

·       Story is what keeps your plot together!

·       A good script burns plot! (Don’t take 2 hours to explain something when it can be shown in    2 minutes.)

·       Have lots of plot!

·       If you don’t know your ending, you don’t know your script!

·        Every scene should have a beginning, middle and an end! Just like a script tells a story.

·         A scene shouldn’t be about what the scenes is going to end on!

·         A ‘McGuffan’ is when you tell a story without showing what’s going to happen. 
     The audience point of view is made by their anticipation of what is going to happen.

Endings:

Clip: Shawshank Redemption: Ending.

Clip: Casablanca: ‘Here’s looking at you kid’. ‘The Beginning of a beautiful friendship.

Technical Terms: 

·      Lock in: An Inciting incident

·      A 3^rd Act Twist: This is an ending or a twist in the ending.

·      Teaser: A very short scene that happens before a surprise!

·      A tag: This works on the same principle and happens at the end of the show. Normally after the credits.

Clip: 

Breaking Bad – Los pollos Hermanos – Loading Drugs (A teaser for the show)

Screen Writing 4 with Steve Coombes – Notes – 13/10/14

Dramatic Irony:

·      Video Short – www.mytimes.com ‘A clip from Stand in’ the creators of South Park.

·      Don’t just have your story explained by the phrase, this happens and then this happens

    Make sure there is a ‘this happens, but then this happens, because this has happened,

    therefore this will happen.

·      Clip – Rain Man – 

   ‘I’m an excellent driver’ this clip has an example of ‘Dramatic Irony’. This

    moment is the inciting moment that kick starts the film.

·      A dramatic ironic moment can be described as a truthful moment. It’s when the plot comes

    together at a point.

·      Dramatic Irony is when the words and the actions have a different meaning for the audience

    than for the character. ‘The audience has a greater knowledge of what’s happening than the

    character himself.

·      There are three types of Dramatic Irony: Tragic, Situational and Comic.

·      You set the Dramatic Irony up like a joke. It has three parts. The installation, the execution

     and the resolve.

·      Clip – Gone with the Wind – 1939. (Ending)- 

    ‘Frankly my Dear I don’t give a Damn’.

·      Clip – Cabaret ‘Tomorrow belongs to me’

·      Clip – ‘Lord of the Rings’ – Smeagol Dancing.

·      A guide to creating Dramatic Irony can be followed by thinking about Aphorism’s, Paradox’s and Platitudes.

"Aphorism" is a noun meaning a terse saying embodying a general truth, or astute observation. One famous example of an aphorism is: “Power tends to corrupt, and absolute power corrupts absolutely”

A platitude is a trite, meaningless, or prosaic statement, generally directed at quelling social, emotional, or cognitive unease.

A paradox is a statement that apparently contradicts itself and yet might be true.

Situational Irony:

·      Films with examples of situational Irony / comedy are ‘The Wizard of OZ’, The Producers.

·      Clip – ‘Cabaret ‘if you could see her from my eyes’. A situational comedy can be funny but it 

    can arise from something shocking for the audience.

·      A Cornelian dilemma: is a dilemma in which someone is obliged to choose between two 

    courses of action either of which will have a detrimental effect on themselves or on someone 

    near to them. In classical drama, this will typically involve the protagonist experiencing an 

    inner conflict that forces them to choose between love and honour or inclination and duty.

·      Clip – The Producer’s. This is a film about the worst show an audience has ever seen. The 

    comic Irony comes in the line, “Where did I go right?”

·      An impossible decision creates drama.

·      Films to watch with situational and impossible decisions: Sophie’s Choice.

·      Hobson’s choice: This is when you give no choice, It’s a no win situation for your character.

·      There are other such dilemmas such as the ‘Prisoners dilemma’!

·      Clip – Dr Strangelove by Stanley Kubrick. Clip 7 Kong Rides the Bomb.

·      Clip – Dr Strangelove – Living Underground.

·      Clip – Outlaws – By Steve Coombes. Episode 10 ‘Damaged Goods’

·      Clip – Outlaws – Episode 11.

“Put your characters into situations that puts them into contradictory and conflicting situations, to help create those moments we will remember”.    

The Script:
At first it was easy how I wanted it to begin, but then it came to me what I wanted in the middle to the end, I wont lie, I did get stuck at some points. For me it was really hard to get the right formatting and layout of the script just right.
The first draft was a little messy and messy was just an understatement. After my feedback from our screenwriting tutor Steve Combs I set to work on re editing it, I even changed the ending which for me worked with the story which I was quite relieved with. After that the rest came easy by re editing the grammar, spelling corrections, re editing the scene headings, and cleaning up my work. Here is the final result:

Risk Assessment:

What Went Well:
The Filming -
Some of the filming went better than I expected, the weather was on my side, Ben and Dave were concentrating for the whole shoot and some of my cinematography came out quite professional if I do say so myself.

The Story -
The story Was powerful yet funny which I was quite proud of, it even made my screenwriting tutor Steve Combs laugh, which he said was quite rare so to me that meant a lot. But I think what was quite hard to do was be unique, I was thinking to hard about the story, so hard in fact I was brining magic into the story, which often made me think, is this really good material to work with? Especially with the equipment and editing software that we have? I tried to make it a lot simpler so I could make it. Simon, my tutor, told me that he saw a lot of potential for this idea so I decided to keep at it and tried to make the story seem exciting so within the two minutes of the film, it would make you want to watch it.

The Preparation -
What really helped my vision is the storyboards I made and drew to help visualise the way my film was going to look and be shot. Storyboards always help me visualise how I want my film to look. Since I had to focus on the two minutes, I decided to do the first two pages, meaning 1 page equalled 1 minute depending how well the filming went.

I also made sure to get necessary paperwork done like Public release forms for my actors, and the location agreement form for the owner's for the house/ property we were going to be filming in.
Here are a couple of examples, confidential information have been censored:

Release Forms for Actors:

Location Release Form:

The Editing -
Some of the editing process was quite simple for me as I have had some experience with the editing software Final Cut Pro X. The shots were clean and fluent and my personal tutor said that in the end the shot still told a story which I was going for in my film.

I loved the piano room scene when Ben Fleury's charter is playing the piano. it came out better than I expected and I am glad I did all of those shots as it gave me a lot of freedom to do a lot of editing to see in which direction my piano scene could go. Quite a lot of time in that one room when it came to the filming, but it was worth it.

What Didn't Got So Well:

The Filming -
I have to admit when I was shooting the outside scenes there were more cars going past us then I anticipated and the sound of them messed up some of the film process.
There was also a dog that my friend had that would usually make a noise which interrupted a couple of takes, so Ben put the dog in the piano room where the dog was then quiet for the rest of the shoot.

The Story -
Just because my story was good didn't mean script wise it wasn't perfect. I wanted to get more into script writing in this course and this was one of my first experiences of writing a script within a time limit.
When I got my feedback from Steve Combs he said he did enjoy it, but my script was a "little" messy and I really had to clean it up by doing spelling corrections, changes to scenes headings, and some dialogue to the story to make it even better.

The Editing -
My first draft edit was enjoyed by my tutor Simon, but again nothing if perfect first time, so there was some changes I had to make to please him. I think my flaws with the editing was because I was sticking to the brief and trying to make two minutes exactly. Because when I was in college doing media, if we were given a brief with a time a leant of time, we were not aloud to go beyond it otherwise it was considered a fail.


What I would Have Changed:

The Editing/ Filming -
I would like to think I could have changed to a better shot in my final edit with a different angle of Ben Fleury's character when he is cleaning his wardrobe apart from another shot of Death walking down the road again.
I might of considered changing some of the music as well and exploring more of what royalty free music I had and see if anything can more the film more dramatic and moving.

The Story -
I could have also changed the twist need the and bring it more to the middle of the story as my tutor (Steve Combs) suggested, but the way my story was made and the time scale that I had, it was to hard for me to think how and where to bring such a twist more to the middle of the story.


What I would Reconsider Doing Next Time:

The Filming -
Doing more shots in each scene and bringing the camera battery charger next time to do even more filming. So that way when it comes to editing I will have more shot and more freedom to change the scenes however I want, and see if it comes out better than I originally thought, Like the piano scene.

The Story -
When I am writing my scripts, explore more of the software Final Draft and make use of it's spelling and grammar checks. Also try and plan out the story more and refer to some of the notes my screen writing tutor has taught me that could form my story even better and efficiently.