MEGAN WATERS TELEVISION PRODUCTION JOURNAL: Professional Pre-Production: Crew Research & Selection

An extremely important part of The Identity is the key crew members that would achieve the style, themes and atmosphere that I intend for the miniseries. These have been decided as a Director, DoP (Director of Photography), Editor, Production Designer and Composer.

Director

'Directors are responsible for the look and sound of a production and its technical standards. They work closely with Producers and/or Writers, enhancing, refining and realising original ideas into finished programmes. They are responsible for ensuring that the final programme is faithful to the original concept. They must be able to push boundaries while remaining in total control of their material. They work across all genres.

Directors liaise with crew members about all technical requirements, e.g. lighting and camera movements, sound recording requirements, set dressing, vision effects, graphics and transitions.' [1]

In my research and selection process, I firstly decided to search through a number of credited series directors to get a general feel for the type of director that would fit my production. By looking up every director from a list of what is said to be 2015's 25 best directors working in TV [2], I found a number of possible drama/thriller director candidates within the list. Including James Foley (Hannibal, Wayward Pines), Carl Franklin (The Affair, House of Cards), Larysa Kondracki (Reign, The Walking Dead) and S.J. Clarkson (Jessica Jones, Dexter). While S.J. Clarkson proved to be a potential director for the series with the atmospheric colour tones of Jessica Jones matching my ideals for The Identity, none of the above proved to match the overall directorial style that I need for my production.

By then deciding to use my inspirational series Orphan Black as a basis for how I would like my miniseries to be directed, I searched through directors of the series. Eventually finding T.J. Scott, who directed four early episodes of Orphan Black in 2013 and 2014 - the early visuals of the series are ideal in what I'm looking for in terms of lighting and camera decisions. In light of this, I researched his work further, finding that he has directed a number of dark drama TV series, including three episodes of Spartacus, two episodes of Hemlock Grove, an episode of Bates Motel, five episodes of Longmire, and six episodes of Gotham [3]. Scott's work history and current projects, along with the following research made my decision in him being The Identity's director.

T.J. Scott

T.J. Scott is a Canadian film and television Director, Writer and Photographer based in Los Angeles. His varied production work with companies including BBC, Netflix, HBO and NBC [4] confirm the idea that he would be willing to work with an extremely varied amount of producers when given the right project to work on.

Scott has won and been nominated for awards on his directing work, firstly nominated in 2010 for the Gemini 'Best Direction in a Dramatic Program or Mini-Series' Award for his work on the TV movie Deadliest Sea. And secondly winning the Canadian Screen Award for 'Best Direction in a Dramatic Series' in 2015, for one of his directed episodes in Orphan Black. [3]

Work

Firstly, Scott's directional work on episodes of the TV series Gotham, represent the ideals of the types of effective, artistic lighting, contrasting colour atmospheric tones of blues and yellows, varying camera shots, and mixes of gritty and slick production design that I'm looking for in The Identity.

Examples of T.J. Scott's directorial work in Gotham

Secondly, the consistent uses of stylistic lighting to create certain moods, along with distinctive colour tones such as reds and blues, yellows and greens, contrasting camera shots and angles, along with mixes of bright, natural daylight scenes and dark, dramatic evening scenes in Orphan Black, are another reason for Scott fitting perfectly as my miniseries' director.

Examples of T.J. Scott's directorial work in Orphan Black

Lastly, the fact that Scott has directed a number of TV movies such as Deadliest Sea and Mayday, alongside sections of TV series, proves to me that he would be highly willing and interested in directing a miniseries.

Due to suitability in production type, locations, series type, actor types, idyllic past and present directorial work examples, and DoP suitability, T.J. Scott is the decided director of The Identity.

DoP

Directors of Photography 'create the desired look using lighting, framing, camera movement, etc. They provide a film with its unique visual identity, or look.

After reading the screenplay, DoPs meet with the Director to discuss the visual style of the film. They conduct research and preparation including carrying out technical recces of locations. They prepare a list of all required camera equipment, including lights, film stock, camera, cranes and all accessories etc., for the production office to order.' [5]

When deciding on a director that has participated in Orphan Black was the best choice, I then decided to look into the DoP of the series. As it seems extremely likely that a director and DoP who have previously worked together on multiple occasions would work professionally and constructively together on a new production. I also found that in being inspired by Orphan Black's visuals, that it makes complete sense that the DoP of The Identity should be the talented DoP, Aaron Morton.

Aaron Morton

Aaron Morton is a Canadian Cinematographer. He has worked on a number of projects from companies such as BBC America, BBC UK, Starz, and Syndication [6]. His talented roles as DoP / Cinematographer in television include an episode of Xena: Warrior Princess in 2001, all episodes of Spartacus from 2010 to 2012, all episodes of Orphan Black from 2013 to the present, a recent episode of the UK's Black Mirror this year [6]. His diverse work history and current activity with a number of productions, international projects and various genres, along with the fact that he has previously worked with T.J. Scott, prove that Morton is extremely well suited to the role of DoP.

Morton has won a total of four awards since 2003, these being New Zealand Film and TV Awards' 'Best Cinematography' for the film Nemesis Game, and three Canadian Screen Awards for 'Best Photography in a Dramatic Program or Series' all within Orphan Black from 2014 to 2016 [7].

Work
Morton's 38 episode-long work history on Orphan Black has built up his portfolio of impressive DoP work on the series. His high use of capturing contrasting lighting and shadows, capturing light to highlight, soften, or harden a scene and atmosphere, angular and dimensional framing, and varied techniques such as focus pulls are all key features that I feel would benefit the visuals of The Identity, therefore Morton is the chosen DoP of my miniseries.

Examples of Morton's DoP work in Orphan Black

Editor

'The Editor works closely with the Director, crafting the daily rushes into a coherent whole. To ensure that the story flows effortlessly from beginning to end, each shot is carefully chosen and edited into a series of scenes, which are in turn assembled to create the finished film.' [8]

A highly important part of the production of a TV series is the way that the piece is edited, making sure that editor uses the director's ideas and the DoP's particular footage to achieve something very close to the original vision of the writer. As the editor plays a huge part in how the final product will look, I needed to research deeply into a suitable person for this role in The Identity. Considering both American and British editors, I first found the editor of Orange is The New Black and Californication; Shannon Mitchell, but while there are interesting editing choices in the former programme, the overall style of her editing isn't 'drama' enough for my miniseries.

I then considered focusing on editors of BBC dramas, as this would ensure that I'd find someone that would be able to achieve the darkness but occasional lightheartedness for a drama that I'd need. Firstly finding Tania Reddin, the editor of BBC's Luther, I initially considered choosing her as my editor. But as Luther was her only example of more serious, darker work, and Luther has quite a different style to The Identity, I decided to look elsewhere. I then found Tom Hemmings, who I will discuss below...

Tom Hemmings

While I cannot find much information on the British editor Tom Hemmings as a person, nor a picture of him, I have learned enough about his work to know that I want to choose him as my editor. Having worked for a number of productions such as BBC, HBO, Sky Atlantic and E4, he is diverse in the companies that he has and is working for. His impressive and talented portfolio of editing drama work includes the film Adulthood, six episodes of Misfits, six episodes of My Mad Fat Diary, the TV film Murdered by my Boyfriend, the first three episodes of Doctor Foster and two episodes of The Missing [9].

Work

Hemmings' timing and pace of cutting clips together to fit the mood such as singular, slow and long shots in a calm scene, and quickly cut, varying shot types in more chaotic scenes are one of the reasons why his work appeals to me, as this is exactly how I would like my own work to be cut. Another reason is his dramatic changes in brightness, contrast and colour to match the mood, such as darkening scenes with cold, slightly blue tones in unsettling scenes, and bright, natural-looking and colourful tones for upbeat scenes. I also feel that Hemmings has a talent for knowing exactly when to hold on the most important and effective shots, such as a characters' insightful expression, or even a tear rolling down a cheek. And lastly, his ability to cut fittingly to appropriate music, all of these elements of Hemmings' editing are why his style perfectly matches the desired editing style of The Identity.

While I cannot find clips of the recent series that he's worked on, below are two insightful trailers of his work...

Murdered by my Boyfriend

Doctor Foster

Hemmings' tendency to work on short projects and television series also make him suitable for this type of work, along with his production history, I feel that he would work extremely well alongside my chosen director and DoP.

Production Designer

'Production Designers are major heads of department on film crews, and are responsible for the entire art department. They help Directors to define and achieve the look and feel of a film. Filming locations may range from a Victorian parlour, to a late-night café, to the interior of an alien space ship. The look of a set or location is vital in drawing the audience into the story and making a film convincing. A great deal of work and imagination goes into constructing the backdrop to any story and choosing or building locations and/or sets.' [10]

As location is a very important part of The Identity, being an international co production, I would require a production designer that is able to create a broad scope of sets and building transformations. The settings of The Identity include an American shabby but warm home, an American diner, hospital rooms, bars & cafes, a pristine English home, a hotel and more. While considering using another BBC crew member, I changed my mind when I realised that I would require a production designer from oversees, with experience in bigger budgets and concepts. Thinking back to other television shows that have stood out to me in the crew selection process, I researched Orange is the new Black's Production Designer, finding the very impressive work of Michael Shaw.

Michael Shaw

The American Production Designer Michael Shaw has been working in Production Design for over twenty years, and has since been credited in eight films, three television series and over seventy-five commercials [11]. Having worked on television productions from Showtime and Netflix, along with varying films, his production work has been growing more and more diverse over time [12].

Work
Shaw's Production Design work is incredibly varied, from working on all episodes of Orange is the New Black, of The Big C, and of Billions, along with numerous film work, Shaw's work history proves this. I am selecting him for the his role in The Identity not only due to production and project suitability, but for the extensive examples of his work that can be seen on his website [13]...

Orange is the new Black: A warm, young adult female bedroom set that captures the type of feel that
I would like for Lauren's Philadelphia bedroom

Private Lives of Pippa Lee: Although set in the 70s, this is an example of Shaw's capability of
creating shabby but warm home settings (in relation to Helen and Lauren's Philadelphia home)

Billions: An example of Shaw's cold, modern, slick home settings that work as an example for
the Porter's cold but pristine London home

Home at the End of the World: An example of his work on retro/vintage sets from decades ago, which
would work extremely well in the 1989 scenes of The Identity

The Big C: An example of his work on hotel settings, which would be very useful in creating a London
hotel setting for Lauren and Ethan

Private Lives of Pippa Lee: While set in the 60s, this works as a great example of Shaw's abilities
to create realistic hospital settings, which would be required twice in The Identity

The Big C: This British bar represents Shaw's talent and capability in creating English settings, which
would be heavily required for all London scenes

Billions: These before and after images represent Shaw's impressive capability to transform empty
spaces into highly believably homes

The Big C: Another before and after example of Shaw's transformation work, turning a normal street
into a gritty, run down, urban area (which would possibly be required for Philadelphia scenes)

I think that Michael Shaw would play a very important and large role in bringing the scenes of The Identity to life in every setting.

Composer

'Composers are responsible for writing original music for films. They write scores that guide the audience through the drama, increase films' emotional impact, and give them atmosphere.' [14]

Initially, I struggled to find a suitable composer for The Identity, wading through large quantities of American and British drama television series' composer examples to find the right fit. I found that numerous composed soundtracks for the dramas that I was exploring focused heavily on the use of piano, while fitting for some dramas, I felt that this sounded too classic and light for my series. I wanted a soundtrack with more intensity and a diverse, modern sound. Eventually I found exactly what I was looking for in Christopher Tyng.

Christopher Tyng

Christopher Tyng is a songwriter, composer and producer, he has a diverse composing history including working on films such as The Associate and The Girl Next Door, and television shows such as Fox's The OC, Comedy Central's Futurama and USA Network's Suits [15].

Tyng has won and been nominated for two awards, having won the OFTA Television Award in 'Best New Theme Song in a Series' for Futurama in 1999, and nominated for the same award in 2001 for The Job. [16]

Work
Tyng's composing work on Suits is the exact soundtrack style that I imagine for The Identity. It has a slick, modern feel that can allow either drama, darkness or even lighter, more easy going moments. I feel that his work would bring out the drama and emotion of the miniseries extremely well.

Below are examples of his work from Suits that I feel would fit with moments in The Identity...

Link: Hardman Returns
I think that this soundtrack would be very well suited to a moment of clarification or realisation for Lauren, whether it be when she begins to find out about her mother's secret, or later in the story when she realises she was replaced.

Link: She Knows
I can imagine this piece of music accompanying the scene of Lauren and Ethan following her father Frank and discovering that he's having an affair, as it builds up a process that feels like a journey, and ends suddenly for a surprising moment.

Link: Mike & Rachel
To me, this soundtrack keeps the intensity that the rest of the programme's music would have, but instead focusing on a positive atmosphere. I can see this soundtrack working for either Ethan and Lauren's love scene, or the ending of the series.

Link: Discovery
I feel that the intense build up of this piece of music would highly suit a few moments within the series, from either Lauren leaving to go to London when emotional, on her way to introduce herself to her parents at the end of episode two, or again when she realises that she was replaced.

Link: Night
I think this softer piece of music would work very well for the beginning of the series, when we see pregnant Helen fall in love with a couple's unborn baby in 1989, as it allows for a less intense introduction into the series.

Link: Make a Deal
This highly dark soundtrack would be perfect in the build up to the climactic scene in episode three of Amanda tying up and trying to kill Lauren, when Lauren is walking alone through the dark house and Amanda knocks her unconscious. I think that this music would bring that scene to life very well.

Crew Selection

Director: T.J Scott

DoP: Aaron Morton

Editor: Tom Hemmings

Production Designer: Michael Shaw

Composer: Christopher Tyng

I feel that I now have a very strong crew selection, and each component that the individuals would bring to the production would strengthen the project, give it much higher production value, give a more professional feel, and bring out the drama and emotion from the story.