Directions Unit: Lighting Workshop 2

For our second lighting workshop, we tried to capture the lighting set up and overall appearance of images from a handbook. We were taught about 3 dimensional contrast and how we always need to be able to pick the image apart like this...

In a group with three other people, we used the Arri Lighting Handbook to pick out three images. We tried to create images as close to them as we could by using the diagram of how the lights were set up as a reference.

Our first image and diagram...

We started by setting up the lights in the same way as shown above, placing a chair and model at an angle in the centre, and placing a black projector screen behind him. We then rearranged our lights positions and flood to try and capture the light hitting the screen behind the model, the shadows on the left side of his face and under his chin, and the highlights on his face...

I think we did very well with this image. We didn't quite capture the highlighting on his cheeks and the back light wasn't quite large enough. But we captured the highlights on his t-zone and the hard light to create shadows on the side of his face and under his chin.

Our second image and diagram...

Again, we started by following the diagram to get the chair, model, projector screen (white) and lights into place. We also used a diffuser sheet to create the frost effect from the diagram and soften the back light on the model. We attempted to capture the bright white background, the small amount of light on the right side of her jaw and the back of her neck, the shadow on her right cheek, the highlights on her t-zone and cheeks, and the shadow under her chin...

We weren't quite as successful with this image. We didn't quite create a fully white background as it still has a gradient to it, and our aperture was slightly too high, making our image closer to high-key, when the example image is more low-key. However, we did capture the light hitting his jawline and back of neck, the shadow on his cheek and the shadow under on his neck. I think we also managed to keep the soft light look on her cheek with our attempt by using the diffuser.

Our third image and diagram...

Just like the last two, we set up our lights and model according to the diagram. This time we placed him in front of an open space in the studio with a piece of equipment behind him, similar to the example image. We attempted to capture the hard shadow along the right side of his face and arm...

I think we struggled with this image slightly. We had quite a few attempts of repositioned the lights and changing the flood and hardness, but were unable to create an image close enough to the example. We managed to create the shadow on his nose and the right side of his cheek, although the shadow is a bit too hard. But there's not defining shadow on his arm.

I've learnt a lot from our two lighting workshops. I think it's going to benefit me a lot with my directions project as I will know more technical terms, have more knowledge on how to try and get lighting exact and how to give clear instructions one what lighting I want to use.

Directions Unit: Lighting Workshop

Today we had a workshop on how to get effective lighting from studio lights. We were taught the film noir three point lighting technique, consisting of a key light, back light and fill light to create fantastic shadowing on a persons face. It gave a very artistic look to the shots and made the character's face look quite mysterious.

We also learnt step by step how to use the lights, and what we could add to them to give different effects. Such as filters and gaffas, making a huge difference to the strength and colour.

We took turns individually getting to grips with and controlling the lights by operating them for other people, then using the camera while directing what kind of lighting we want to use in our tests.

Below are some snapshots from my camera work and directions on lighting...

A shot with the exposure set low ready for when the light is on him.

A shot with low exposure and one key light. I think the shadow it creates gives a very artistic look.

A shot with a blue gel over the light. This created much more of a daylight kind of look, which I found useful for my work.

A shot with a red gel over the light. I love that the shadows turned slightly green. An amazing contrast.

A shot with a back light behind him, and a white sheet over the key light that softened the lighting on his face.

The same shot with the key light creating hard light (no sheet). A very clear difference. 

A shot with the back light directly behind him. I love the clear outline it creates.

The same shot with the exposure set lower. I simply used this to experiment just how low you can set it with the light still able to break through. I think it's a very effective shot.

I found today very useful. I hadn't had proper training with the lights before now, and after today I feel very confident with setting them up and using them. I've decided to use a light on set when I film my directions work. I will be using it for my indoor scenes with a blue filter to create a daylight effect instead of fluorescent. Along with this I will use a reflector for the outside shots in an alleyway to highlight my actors faces.

Directions Unit: Casting

At this point in time, I have had 9 actresses apply for the role of Mara, and 8 actors apply for the role of Rick on Casting Call Pro. I'm absolutely thrilled! I've carefully scanned through each and every one of their profiles, cover letters and screenplays. There are some who simply didn't look right for the parts, so I don't have them in mind. However, there are a lot of applicants who seem between suitable and perfect for the parts.

On Friday afternoon I contacted two actresses and three actors on Casting Call. Telling them that I think they're suitable for the role and would like them to read the script attached and come in for an audition on January 28th. I currently have one actress (the one I feel is perfect for the role of Mara) coming into the studios for an audition on that date, and one actor who will audition over Skype on that date later in the day.

I think that's a fantastic result from start to finish as the job advert was only posted on Tuesday afternoon! I'm very excited to hold my first ever audition and meet the actors, and I'm very hopeful that the other actors I reached out to contact me soon!

Directions Unit: Script Draft

A few days ago, I finished my draft script. As my introduction and two sequences will all be put together as one film, I have created one script. It's currently simply called 'Untitled Screenplay' as I have yet to come up with a name that fits the story as well as David Fincher's trends of how he titles films.

As the dialogue sequence was written by my course leader, I needed to interpret it in my own way. I made some small changes to the lines themselves, such as "I'm a director" becoming "I'm being directed right now" due to thinking it's best that my main character remains as simply a drug addicted loner, rather than one who directs films on the side.

I gave the dialogue scene between Mara and Rick a bit of a sarcastic tone to it. As it takes place over a drug deal, I thought I should present it in a small talk manner, where Mara comes across ascold and impatient. I think it also gives the scene a slightly dark humour to it, which is how I think Fincher would want to spin it. I also like that it seems like Rick is humouring her when she sounds slightly crazy, talking about how she's being directed and everything's planned.

I'm very happy with my script as I think I've managed to come up with quite emotional and effective sequences that really suit Fincher's style, and that I managed to make the dialogue sequence my own. I will most likely make some changes to my final script but overall I think my draft has gone well.

You can find the script in the link below...

https://www.dropbox.com/s/q6qva89crfliu6j/Untitled%20Screenplay%20by%20Megan%20Waters.pdf?dl=0

Directions Unit: Research

As my main character is addicted to and heavily abuses heroin, I've been doing a lot of research on both the drug and the effects it has on the users. I need to know exactly what props and costume to have and how to present them.

To make the details accurate, I've researched the following...

The appearance of heroin
At first I thought that heroin sold by drug dealers was a white powder, as when I Google Imaged it, that's what I found. But after doing further research, I found out that white heroin is a purer 'grade' of heroin and is more commonly used for medical treatments. 

'Street heroin' as it's known, is most typically a dirty brown powder, due to being cut with other substances to increase its weight and the drug dealer’s profits. Usually, heroin is sold by drug dealers as a gram each. Most commonly wrapped in cigarette paper or clear plastic and tied up.

I will be using brown sugar for my heroin props, as it looks very close to the images I've found of street heroin. I will wrap and tie up one gram of it in clear plastic.

Resources:

http://choicesforlifeonline.org/cards/heroin-the-facts.aspx

http://www.dailymail.co.uk/news/article-105112/Heroin-Britain.html

How much it costs
I've found that the average prices for a 'wrap' of heroin are £10-£20. And that it's very easy to get hold of. I've learnt this from reading a Daily Mail article, where a study was carried out to prove just how easy it is to 'score' in a day.

I will have my main character give her drug dealer a £20 note for one wrap of heroin.

Resources:
http://www.talktofrank.com/drug/heroin
http://www.dailymail.co.uk/news/article-105112/Heroin-Britain.html

How it is taken
I've learnt from both online research and scenes in programmes such as Breaking Bad that injecting heroin into arm veins is the most popular and well known way of taking heroin. The drug is prepared by being dissolved in water, mixed with an acid (most commonly citric acid powder or lemon juice) and heated in a spoon over a flame. Also, the user's arm is often wrapped with an item such as a belt or a ribbon to temporarily cut off the blood supply to the arm.

While I won't be filming my character taking the drug, I will be placing drug decor on set and shooting a short, silent scene of the 'drugs' being heated. I will use syringes, used burnt spoons, belts and empty wraps for my decor. And will use a burnt spoon, a lighter and either syrup with water or tea as my dissolved heroin for my shot.

  

Resources:

http://en.wikipedia.org/wiki/Heroin#Injection

The effects it has on users while high
Again, I won't be including my character appearing high on heroin in my film, but I needed to know what effects it has on the user to make sure it would be the right drug for her to be taking. Her reasons for taking drugs are to escape her memories and grief over her mother's death. So the drug needed to be one that has the effects of lifting one's mood and taking them out of reality while high.

The effects of heroin are that it gives users a feeling of warmth and well-being and can often give them a rush of intense euphoria. Larger doses can make people sleepy and very relaxed. So it seems that this is the most suited drug for my character, as it would allow her to escape.

Resources:
http://www.talktofrank.com/drug/heroin
http://en.wikipedia.org/wiki/Heroin#Recreational_use

The appearance of an addicted user
According to my research, heroin addicts often look quite ill, as if they have the flu. So I will have my character look slightly pale and tired, with dark circles under her eyes.

The symptoms of withdrawal from heroin depend on how severe the user's addiction is. On a scale of 0 to 4, the symptoms are:

0: Anxiety and strong desire for the drug
1: Watery eyes, watery discharge from the nose, and yawning
2: The above symptoms plus dilated pupils, loss of appetite, shakes, hot and cold flashes, and aching of the whole body
3: Severe shakes, hot and cold flashes, aching, fever, high blood pressure, fast pulse, and rapid breathing
4: Diarrhoea, vomiting, low blood pressure, and dehydration

My character would have taken heroin less than 24 hours ago, so I would have her show symptoms of no more than a no.1. I will most likely only be showing her anxiety, through her reactions to flashback and impatience when waiting for her dealer to hand over the drugs.

I will also be creating fake track marks on her arms with make-up. Users who have injected the drug many times often have track marks as the needle has scarred them and damaged their veins. I want it to be obvious that she is a long term user by having her track marks in shot.

(Fake)

Resources:

http://www.discoveryplace.info/narcotic-drug-withdrawal

http://en.wikipedia.org/wiki/Drug_injection#Disadvantages

Directions Unit: Plan Details

Project Title

I currently don't have a title for my film but will be deciding on it very soon. David Fincher tends to give his films either sharp, one word or two worded titles such as Fight Club, Panic Room, Zodiac. Or quite mysterious, longer titles starting with 'the', such as The Girl with the Dragon Tattoo, The Social Network, and The Curious Case of Benjamin Button. I will choose from one of those styles of titling so that it both fits Fincher's style and the theme of the film.


Chosen Director - Vision

When first deciding to use David Fincher as my chosen director, I researched a list of his trademarks and then watched the three films of his I hadn't yet scene and managed to pick out every single trademark listed, often more than once. I want my work to be very obviously created in his style and easy to pick out the trademarks from every shot and scene. I already know how I will work in all of his trademarks into my film. Again, for most of them, more than once. Here are Fincher's creative methods and examples of how they will be included in my work...

Gone Girl

A single handheld shot. I think I'm most likely to use this in the shot where my main character, Mara is being handed drugs by her dealer. As it's likely to be where her life takes yet another downward spiral.

The Social Network

Static and highly controlled shots. Every single shot other than the single handheld one will be static and highly controlled. I will make sure of this by using a tripod for every take.

Zodiac

A static shot with an unfocused background and a character walking into focus. I will use this shot when the drug dealer, Rick is introduced in his dialogue scene with Mara. I think it's a great way to introduce a character.

The Girl with the Dragon Tattoo

Low angled shots. I will use these quite frequently throughout my film. For example, a low-angled close up of Mara's face when she walks to the window in the first sequence, and a low angled wide shot of her standing in the kitchen in the second sequence.

The Curious Case of Benjamin Button

Wide shots. I will also use wide shots frequently. For example, Mara standing in her empty bedroom in the first sequence and two separate shots of Mara and Rick walking in the street to meet each other.

Se7en

Fluid tracking camera shots. I will be using at least one of these shots. The shot I have in mind is one of Mara from behind. Walking along the street.

Fight Club

Silhouettes. In the scene where Mara wakes up, she sits up in bed and calms herself after her nightmares. This will be a profile shot of her, the light will be behind her and she will be a shadow.

Panic Room

A shot looking inside a character's fridge. This will be in my second sequence 'Mealtime'. When Mara takes a beer out of the fridge.

References to the band 311. This has only been used in Fight Club and Zodiac but I like the idea so I will be including it. Mara will look at a text from Rick on her phone, the time above the text will read '3:11pm'.

Fight Club

Starbucks cups in shot. Again, this was only used in Fight Club. But it was very noticeable in every single scene. I'd like to use that as one of his little quirks. I will strategically place one in each scene.

Se7en

Frequently starts his films with creative title sequences that express the theme of the film. I will be doing this by playing titles at the same time as silent, static shots such as a spoon that's been used for cooking heroin and a wide shot of the alley she buys it in.

Se7en

Often displays end credits as slide shows or scrolling downward. As my opening titles will be in a slide show style, I will be using his technique of having the end credits scrolling downward instead of upward.

Gone Girl

Low-key lighting with green/yellow or blue tinted colour temperature. All of Fincher's films have at least a few scenes that have a tinted colour. I plan to use a blue tint on the present day scenes and dramatic flashbacks, and a green/yellow tint on the happy flashbacks.

Se7en

Backstories filled with flashbacks / Single frame inserts. The flashbacks of Mara and her mother, Anna will be presented in single frame inserts. However it won't be in the style of Fight Club's single frame inserts, when Tyler (Brad Pitt) appears in the scene. It will be closer to the flashbacks of Mills' (Brad Pitt) wife's face in Se7en. When I do the same it will give the impression that they're quick flashes of painful memories that Mara can't shake off.

The Curious Case of Benjamin Button

Downbeat endings. Every single film of Fincher's has a downbeat ending, even if it's only slightly. The audience won't be left smiling. So I don't want them to be with my film either. So Mara's character won't be getting closure in the end.

Casting

I have currently only cast the very minor character of Mara's mother, Anna. I will be using my own mum for a framed picture of Anna in the first sequence and 5-6 silent single frame insert scenes. I've chosen my mum as she has had three previous jobs as a film extra so has experience and she is very reliable.

For my characters of Mara and Rick, I have put up an advertisement for their roles on Casting Call Pro. I'm currently getting lots of applications so I will have their roles cast very soon.

I need Mara's character to come across as a drug addicted loner, suffering from her mother's death, while at the same time having a very tough exterior. So I'm looking forward to seeing what certain actresses that have applied for the role can bring. While Rick only has a small role, I need him to look like your relatively average, every day man, but still capable of coming across as shady while he deals to Mara. Again, I'm excited to see what the actors on Casting Call can do.


Crew

I will be using two people from my course as my crew. Harry Taylor will be my camera operator, while Wesley Denne will be my sound assistant. I think they both have a lot of skill in television production and I know that I can rely on them.


Locations

I will be using 2-3 main locations: Streets and an alleyway in Coxheath, my house and if possible a friend's house.

I will be using the garden and my mum's bedroom of my own house to shoot the flashbacks of Mara's mother. The garden will provide a lot of natural light for quick, bright close-up flashbacks of Anna. While the bedroom has the simple, typical family home look that I need.

A friend of mine currently lives in a house with very little furniture. If it's possible to use her house when it comes to shooting it'll be the perfect location for Mara to be living in. My friend can't let me know if I can use her house yet so if I can't in the end then I will be moving some furniture around and using my own living room and kitchen.

Close to what I have in mind

I will be filming two streets very near to each other and in an alleyway in which Mara and Rick will share their dialogue and have their drug deal. Coxheath is also where my friend lives and has the perfect alleyway that I have in mind.


Production Design

Fincher's production design is often either start and modern, or dark and decaying. I plan to use dark and decaying for my film. Mara's house will be relatively empty. It will be messy and it will be dark to create an unsettling atmosphere. There will be lots of key props and decor such as syringes, alcohol, burnt spoons, and a picture of Anna. The streets and the alleyway will look rough and decaying and if all goes to plan I will be shooting on a cloudy day, so the scenes will appear gloomy. The only brighter scenes of my film will be the flashbacks. I will need brighter scenes to stand out in the single frame inserts, and it will be an interesting way of showing how Mara's life used to seem bright and now it's faded.

The gloomy look that I want

Mara's Costume Design

Mara's costume in the flashback of being happy with her mother will consist of...

- Neat, let down hair
- Light, soft make-up
- Simple earrings and pendant necklace
- A pale coloured jumper/long sleeved top
- Light coloured (possible pale blue) fitted denim jeans

Her costume in the flashback of finding her mother will consist of...

- Neat, side-tied/plaited hair
- Light, soft make-up
- Simple earrings and pendant necklace
- A white, fitted t-shirt
- Black, fitted denim jeans

Her costume in the first sequence will consist of...

- Messy, tied up hair
- Dark, smudged make-up
- Piercings (fake)
- Make-up that makes her look tired and slightly ill
- Track marks on her arms done with make-up
- A slightly dirty, loose, black t-shirt
- Baggy, dark grey joggers

Her costume in the second sequence will consist of...

- Messy, tied up hair
- Dark, smudged make-up
- Piercings (fake)
- Make-up that makes her look tired and slightly ill
- Track marks on her arms done with make-up
- A slightly loose, light grey vest
- Slightly baggy, worn out, dark navy denim jeans
- Black, worn out trainers

Her costume in the third sequence will be as above with the addition of...

- A black/dark grey hoodie (hood down)
- A black leather jacket
- Black fingerless gloves

My inspiration for Mara's appearance is loosely based on Lisbeth's appearance in Fincher's The Girl with the Dragon Tattoo - just not quite as much of an 'out there' appearance as hers

Anna's Costume Design

Anna's costume in the flashback of being happy with Mara will consist of...

- Neat, let down hair
- Light, soft make-up
- Simple earrings
- A white, fitted t-shirt
- Fitted, dark navy denim jeans

Her costume in the flashbacks of her crying and being found by Mara will consist of...

- Messy, let down hair
- Dark, teary make-up
- A dark t-shirt
- A long, black cardigan
- Loose, grey joggers

Rick's Costume Design

Rick's costume will consist of...

- Neat hair
- A pale t-shirt
- A black hoodie (hood down)
- Dark, denim jeans
- Simple trainers

Sound Design

There will be minimal sound made on set in the first two sequences. I only expect to hear her gasps and the sound of objects such as the fridge opening and closing, and the click of her lighter. And of course the sound in the third sequence will be that of Mara and Rick's dialogue and vague street noise. I will also be adding in some sound effects during editing. Such as a static kind of sound each time a single frame insert is used.

I haven't yet decided on what particular music I want to use. However, I want to find royalty free soundtracks as close as possible to the music that David Fincher uses - music by Trent Reznor and Atticus Ross. I love the music from The Girl with the Dragon tattoo and I think it fits well with the tone of my film, so hopefully I will find music close to that. I also don't know if I want music to be involved continuously throughout my film, I may need to decide on that during editing.


Story - Character

I have chosen to have a female loner called Mara as my main character. I gave her the name Mara as the meaning of the name is both 'bitter' and 'an expression of grief after the death of loved ones' - so it's absolutely perfect.

The introduction for Mara will start with her laying in bed, asleep. The room is practically empty aside from a camper bed, general mess and a small table. The camera is over her at a top angle. It zooms in on her ever so slightly and slowly, while she fidgets a bit with a pained look on her face. During this there are single frame inserts of flashbacks, starting happily, ending badly. They're of her and her mother, Anna, first of them laughing together, then of her mum crying. Mara suddenly wakes up gasping, throwing herself closer to the camera while catching her breath.

The shot changes to one of her sitting up in bed, head in hands, as a silhouette. She gets up and walks to the window. She looks out of it for a while looking sad. Then down at a framed photo of her mum looking happy. She looks at it slightly angrily for a while, a single frame insert of her mum crying plays again. Mara closes her eyes with the same expression as before, then places the frame face down on the table.


Story - Sequence

I have chosen the 'mealtime' sequence, set in her kitchen. Again the room is rather empty aside from mess. The sequence starts with the fridge being opened, it's also practically empty inside except for beer, empty containers and possibly mouldy food. Her hand is seen taking a bottle of beer out and the door slams shut. She opens the bottle and takes a swig, leaning against the kitchen counter looking around at the mess on them and the empty space in the room. A single frame insert of her mum laying on a bed with her eyes closed plays and she loses her breath. She faces the kitchen counter and exhales as she rests her hands on it and drops her head.

After a while she jolts up straight, taking a pack of cigarettes and a lighter from the counter and lights up. As the lighter clicks and the flame appears, another single frame insert flashes, this time of liquid bubbling in a spoon over a lighter. She has a drag of her cigarette and then takes her phone from her pocket. She looks at a text from Rick, telling her he's on his way. The time is 3:11pm (reference to the band 311). She puts her phone away, grabs her jacket and walks out of shot.

Story - Conversation

Mara's hand is seen closing the front door. The camera follows her from behind as she walks. It cuts to a close-up following Rick's face as he walks along a different street, hands in pockets, looking forward, slightly fast pace. Cutting back to Mara, she turns a corner into shot and walks toward the camera along the street, looking down, average pace, hands in pockets. She stops in an alleyway, looks around and leans against a wall. Cutting to a shot of Rick, he comes into focus as he walks into a close-up and stops.  They say the lines in the script in a manner where it seems as if he's making conversation and she's trying to end it. About two thirds into their conversation, while still talking she takes some money out from her pocket as a hint to get on with it. He then takes a small, tied up plastic bag from his pocket filled with a brown powder. They carry on talking as they exchange these, she puts the bag in her pocket while he checks the money's authenticity by holding it up. Mara says "I guess we should cut out early, keep the audience interested". The male character replies "And how would your director do that?". She looks down for a moment, looking vaguely thoughtful. Single frame inserts play of her mum laying eyes closed on the bed, revealing that she's next to an empty bottle of pills, and one of the same scene including Mara with a softer costume, crying and screaming. Back in the present she closes her eyes and twitches, as if she's shaking the flashbacks off. She takes the wrap of heroin out of her pocket, looking down at it. She looks up at Rick and in response to his question says "By making it all go away" as if to imply the drugs will ease her pain. She puts the wrap back in her pocket and slowly walks away from the camera.


Schedule

I will be shooting on Saturday the 7th and Sunday the 8th of February. I will begin editing as of Monday the 9th.

Directions Unit: Gone Girl Article

I've previously posted a review on Gone Girl so I won't be going into any detail about the film. But today I read an article about the Gone Girl and David Fincher in Empire magazine and enjoyed finding out interesting facts on the actors and how they fit their characters, Fincher's process of casting, his attitude toward his cast (serious but professional) and how he wanted to approach making the film and it's style. I'm enjoying gathering more and more research.