Major Project Update - Agnus

For the character Agnus I needed someone who mostly suited the character. The main theme for Agnus was gothic and artistic. Unfortunately due to circumstances Natalie who originally was going to play Agnus, had to drop out of the project and I had to find someone else.

As the date to start the filming was soon upon us and I needed someone to fit the role. I needed someone young looking, who has had experience in acting not just in film but also in theatre. I posted jobs on Cast and Call pro but time was running out. However one actress came to me asking about the role. Rhiannon Occhini who I had worked with before, she has lots of work in acting in documentaries as well as on stage.

Rhiannon Occhini saw the job offer and saw I was asking around and she asked what I needed from her in terms of the character. She presented herself in the shoes of the character well and I saw Agnus and she gave me dates of when she was free and I handed the part over to her.

She even had some good costume design ready for her character and got into the Wednesday Adams feel that I was looking for. When I described the character to her she instantly feel in love with her. She was eager to get started as the rest of us were and I welcomed her into the group.


Agnus - Rhiannon Occhini

Major Project - The Production Designer

For my major project, the production design was to be essential, it had to look outrageous, filthy, messy, funny, and freaky at the same time. This was going to require a lot of props and designs from someone who has experience, so I had to look around for anyone, even at UCA for help.


Production designers are responsible for the visual concept of a film, television or theatre production. They identify a design style for sets, locations, graphics, props, lighting, camera angles and costumes, while working closely with the director and producer. (AGCAS, 2015)

The job of the production designer is to make the visual side of the film production look amazing as it possibly can using all means of artistic direction and prop making capabilities.

The responsibilities include:

• Reading scripts to identify factors indicating a particular visual style; 

• Considering the production brief, which may be written or oral; 

• Meeting the producer and director to discuss concepts and production requirements; 

• Researching art history, background politics, historical information and producing design ideas; 

• Planning and monitoring the design budget;

• Providing scale drawings or models for studio or theatre sets; 

• Producing design ideas for costumes, wigs, props, special effects, make-up and graphics; 

• Identifying and assessing potential studios and locations;

• Sourcing appropriate materials and researching effects;

• Presenting ideas to others involved in the production, such as actors and camera operators;

• Researching, estimating and preparing a property list; 

• Hiring and managing an art department team or teams (depending on the size of the production); 

• Instructing the set construction company, scenic artists and special effects specialists and monitoring their work; 

• Liaising with the costume designer and the director of photography, as well as the props, lighting and sound directors; attending progress meetings, rehearsals and filming to advise on visual presentation;

• Checking sets and locations during filming to make sure requirements are met and to deal with any queries.

My Production Designer:

Name - Alex Wilson

A UCA Graduate and props lover, she enjoys all aspects of design and filming in terms of props and items to make anything look creepy and yet at the same time stand out.

The reason I came to her was because of the designs and props she already made which I had access to thank to her consent. Her inspirations came from that quirky yet gloomy side of film making such as, The Series of Unfortunate Events and How to Train Your Dragon. She understood what I needed and what I was aiming for in terms of the resolution of the film. Plus her style fitted the project perfectly, funny, dark, freaky and her work truly stood out from what I saw in most designer's work I have seen.

Major Project Research - Music and Sound design

Book: Making Short Films The Complete Guide From Script to Screen


The music I decided use for my project is most consisted of hard rock and funny sound effects to keep the film engaging. A band I know allowed me to use their music to help open and close the film as well as give a good sense of fun and rebelliousness.


"Sound plays a vital part in the overall feel of a film, but it is music more than anything that bring out the the emotional heart of a scene and the director has to learn to leave space for music in order for it to be a part of the storytelling process."(Thurlow & Thurlow, 2012: 155)



The band is known as Spyder Byte, a rock rocking group from Medway who have had a rise in their following with their fun and energetic sound. Th reason I approached them was because they had the right edge I was looking for as well as being an opportunity to approach them easily as I knew the lead singer back in college and met him at one of my college gigs. The main reason for this approach is that their style matched the style and genre of the film, fun and sinful at the same time. Rock music is the essence and the soul of the delinquents of the film.

"Music sets the mood and atmosphere, it creates tension and contributes in a subtle way to showing the audience about desires, fears, even the nature of the characters." (Thurlow & Thurlow, 2012: 155)



Like the series The Young Ones I plan to use an artist's song to bring the films atmosphere to life. I want the audience to feel like the delinquents to the point is where I want them to party with the these characters at the end. Unfortunately unlike the Young Ones, I can't have the whole band in the film  as they are on tour while production is taking place while they are away.

Farren Blackburn Master Class in Directing in television and film

As part of my major project I have to direct my major project when I come to film it. To understand the role better we were given a special talk from a popular television director, Farren Blackburn, who has done resent shows such as, Netflix's Daredevil and soon to come out, Marvel's Iron Fist.


He gave us in detail on how his job work in day to day life and how he became noticed and how he debt with doing his job over seas such as New York America. He described his job and the pros and cons in working within television.

• Make Connections

Memorise names on the credits so you know wha to contact for certain information or wok opportunities.

• Make Short Films

The more films you make  and submit to festivals, the more people you will meet and will get to know you and your work. As well as your directing style and experience with working with other people.

• Farren Blackburn's The Fades

• Pitch for Jobs

For directers in television, you will have to pitch the directing style and idea for filming a particular show or episode and see if you are the right director for the job. If so the studio filming the particular production will then submit a script which you will have to read and visualise how the episode will play out in your head. Writing down the ideas as much as you can will prepare you for what you would need to communicate to the filming team in order for the episode to be filmed the way you need it to be filmed. 

• How you Visualise the series

If you have pitched for a series you haven't watched or understand, then the best option is to make sure to watch the series to get an understanding of what it antically is. What are the characters? What is the overall plot and summary of the series? If you were to approach the show how would you film the situations with those particular characters?

• Communicate to departments

This is one for the most important aspects that a director needs to have in order to get the filming done and on schedule. Understand your idea and most of all know how to make sure the other departments understand your vision. The more your crew understands your idea, the more efficiently and understandingly they will work with you.

• Know as much media and film disciplines as possible

The more you understand how each department works, the more better your re communicating your ideas and thought to them. Especially the camera crew department, the people who will have to shoot your vision and make it come to life the way you want it.

• Look for potential in the material 

If the script is nothing special to you then turn it down, if you are starting out then you might want to conceder it anyway just for the experience. Remember you can turn a bad idea into an entertaining film or television series episode. If the script has potential then have the same confidence to apply for it and work on your visional on how to film it and make it even better.

• Scripts often come late (Don't over develop them)

An over developed script can often be donating and confusing and would require much conversations with the head writer so you know what the martial contains and requires of you.  If parts of the script you are working on does not turn up on time then prep yourself as much as you can before it is finally handed in for you. The more prepared you are, the more adjusted you are for the new script.

• When talking to writers with big egos, ask questions, don't criticise 

So writers think that each idea they come up with are pure gold, Farren even mentioned Steven Moffet for one of them, the head writer of Doctor Who. The way to get comfortable with a writer is to make sure you are one their good side and try to ask questions on materiel you don't understand. The more you understand the writer's idea the more easier it is to ensure that you can work with it. You can even ask if an idea that you had can work with their script, even if they say no try your best to make their ideas even better for when it is prepared to be aired on television.

• Remember K.I.S.S (Keep, It, Simple, Stupid)

The more overly complicated the idea, the more stressed and tired you become, don't over think things. Get to the point of the idea and make sure everyone on your team understands what is required of them at certain points of the production.

• Think about what you have to keep the story forward

If you are at a still point of the production and have nothing to go on, think back to what you have already done and look at the martial you have. Is it enough? Could you do more takes of a certain shot? Look at the resources you have and work with them as much as you can before a day of filming is thought, you might get more coverage of shots that could prove useful to the editor when he or she is working on putting the finished project together.

YOUR DIRECTOR'S VOICE:

Your voice is always there, it will come in time. You are a story teller, even if you don't have a specific voice, tell the story the way you visualise it and how it is written.

Working with actors:

When chatting with actors:

- Understand the story

- Understand the Characters

- Understand and watch the series

• Have good people skills, relationships and understandings
• 
  
• Work with their egos

Notes to take when casting:

- Do you like this person?

- Are you going to get on well?

- What does the story require from this actor?

- Be flexible 

Things to consider:

• Try to make each project have it's own tone

• Put in as much time before the day is done

• Remember the story is always important

• communicate the ideas with as many people as possible, with confidence.

• The tiniest thing can change a film or show

American television is different:

- Often under prepped 

- People are usually late

- Ideas can change

Lastly:

Don't compare yourself to other people!

Film Makers die on set (it is not a retiring job) 

The first step on set is always the hardest

Remember to eat and sleep and don't get over stressed!

I have learned so much from Farren and was glad to get the opportunity to hear his voice and understand what he has been through to get where his is today. He has worked hard and often with people hard to work with as well. He has persevered and now working on a fantastic upcoming show, Marvel's Defenders which I just can't wait for .

He has inspired the whole course to believe in themselves and to go forth and achieve their dreams in any way possible, he said that we can do it and had faith in us as people. He not only delivered what we needed to hear but what we want to hear. In most lectures some of the tutors keep on explaining that the the real world is tough and a living hell and often leaves us with fear in our hearts. Farren however kept giving us the main point of what he was saying and made the real world less scary because of his experience, it felt like we were completely with him on his journey throughout the industry. We left the studio with visions of a brighter future and the confidence we needed to achieve success. I can not thank him enough, he was an amazing person in real life and I hope to see more of his amazing work in the future.