Fiction Adaptation: Poem Research

I couldn't find any information online for general research on the poem Love Ambitions. However my research on the poem has been done so through analysing the poem itself in connection with my interpretations of each part. As well as analysing the Youth Media Agency adaptation of the poem.

My Interpretation of Love Ambitions

"I wanna be your mirror so I see
What you see.
And you see
What I see
And all I see is you
Gazing at me."

First impression: This says to me that she wants to be 'one' with the person she loves, to see the same sights and feel the same feelings as each other. To 'reflect' off of one another.

In my adaptation: I found that the use of the word 'mirror' works perfectly for the literal use of a mirror in my adaptation. As she is able to look into her reflection and give off the impression that she's looking at more than just herself. I also used the words of him gazing at her in a literal way by having her look at photos of the man she's talking about and it appearing as if he's looking back at her. While I've split this part of the poem into two 'actions' within the film, I feel that they flow together.

"I wanna be.
A debilitating disease,
Make you weak in the knees,
But bless you when you sneeze,
And miss you,
Like a ghost misses form when you leave."

First impression: While the poem may not come across as creepy or obsessive to some, it instantly did to me. Through words such as the above 'debilitation disease'. I interpreted the first half of this section as the poet wanting to weaken the man, possibly so that he needs her to look after him. In contrast, I read the second part as him clearly not being close to her, and not having been around for a while, which I feel starts off a creepy atmosphere and stalker-like appearance of the character/poet in the poems' story.

In my adaptation: I wanted to turn the words around in the first half of this section to the character herself being made weak at the knees by the sight and thought of the man. Having her drop backwards onto her bed in a day dream of him. However, closely resembling the turning point I see in my interpretation of the second half of this section, she is reminded that he is no longer near her when she brushes the empty space next to her. She appears upset, as if her bubble has burst. I think this represents to the audience that something isn't quite right in this supposed love story.

"I wanna be.
The big issue
Maan, that you give 2.50 to,
Compassions material form once held by you
Smell like you,
The scent that you apply
Provide the glisten of desire that resides in your eye,"

First impression: I see her wanting the be 'the big issue' as her wanting to be of some kind of importance to him. Overall, I think this whole section, discussing 'material once held by' him, his scent and the 'desire that resides' in his eye, is almost like her wanting to become a part of him and be what he wants.

In my adaptation: I took this section in a literal manner again, as she almost tries to transform herself into him. By putting on what appears to be one of his shirts stored away with her clothes in her wardrobe, and spraying herself with a man's cologne, which can be assumed as his 'scent'. I think this visual representation heavily gives off the impression that she's trying to be as close to him as possible.

"I want to be your;
Bed, your sheet, your pillow and your cover
The one that I smother
Your bedtime lover,
Comfort in the form of a significant other"

First impression: I see her saying that she wants to be his 'cover' as a way of saying that she wants to be able to wrap around him, which leads into the part that stands out the most to be, which is her saying that she wants to 'smother' him. Which again, takes a turn in a darker direction in my eyes.

In my adaptation: Being set in her bedroom, I made further use of the bed for this section, with her almost imagining or convincing herself that her pillow is him, with her wrapping herself around it. Yet when she looks down and realises that he's not really there, she becomes distressed, clenching the pillow tighter and tighter - as if smothering it. I feel that this was an intense moment in the film that captured the fact that she's not necessarily as innocent as she's seemed up until this point. Unfortunately, I have had to remove these visuals from my adaptation as I've had to heavily cut down the length of my film.

"Your, coco butter
Invade your pores with the cream of me
Just so I can touch you ubiquitously.
Your pupils, teach me to see
That, I'm the one for you and
You complete me."

First impression: I felt that this again touches on the fact that she wants to be a part of him, with the words of 'invading' and touching him 'ubiquitously'. To me it's also a representation of the fact that she's convincing herself that they are supposed to be together, by saying that just looking at him lets her know that she's the one for him and that he 'completes' her.

In my adaptation: Now heading straight in the direction of the sweetness of the character starting to fade and the audience seeing her true colours and obsessiveness, I decided to use her stroking a framed image of him and talking to it. The poem talks of invading his pores and touching him ubiquitously, I made this section more possible and realistic by having her stroke the image of his face, as if that's her reaching out to him and touching him - as that's as close as she can get now days. I also thought that having her flat out say to the picture 'you complete me' makes the line more powerful and clearly represents just how much she believes that he's really there with her.

"The only facebook message you'll reply to.
I wanna be the receptor your ligand will bind to.
The pen lids you chew
Your most comfortable shoes
The one thing you'll never lose
The only choice you'll ever choose."

First impression: In my eyes, this continues talking about the fact that she wants to be involved in ever part of his life, whether it's being the only person he contacts, or even being what he wears and uses day to day. To me, these words, and especially the words of wanting to be his only choice, say that she has unrealistic and unsettling expectations of what she wants to be to him.

In my adaptation: I was inspired by the use of social media being a way to see into someone's life without actually being involved in it, being the way that she 'spies' on him. This was also a way to explain to the audience that he is definitely not in a relationship with her, by showing images etc. on his Facebook profile that he's in a relationship with a different woman. I lead from this to the character being brought back to reality again and reacting badly to it, by connecting 'the pen lids you chew' to her deciding to write a message that convinces herself that her fantasy is what's really reality. It's then revealed that the message says 'I am the one thing you'll never lose, the only choice you'll ever choose'. I think I managed to make this section flow and tie in with each other well.

"I want to be.
Every,
Single,
Girl you've,
Ever,
Encountered.
So that technically,
I'm the only one."

First impression: I see this as her wanting to erase his past and every part of his life that doesn't involve her. I think that could potentially be what every reader and the poet herself may have in mind when reading this section, due to its bluntness.

In my adaptation: The fact that the poem is presented in a way that has each individual word on a separate line makes the reader hear it as 'Every. Single. Girl' etc., which makes it very stop/start to me. This inspired me to present it in a way that each word is bursting into her mind, by using an almost stop motion style of her grabbing her head, again trying to convince herself that she's the only one as each word resounds.

"The game you play for fun.
I'll let you monopolize
And think that you've won
Fairly!"

First impression: This is another section that comes across as disturbing to me. Almost that the whole idea of losing him and him not being a part of her life any more is just a big game or a big joke. But that to her, she's going to turn that around in the end.

In my adaptation: I thought outside of the box for this part. The idea of a game that she herself plays for fun came to me. Which I then decided should involve his new girlfriend. With her opening a hidden book full of images of the new girlfriend, and then ripping them up with a smile, it's as if this is her game, where she gets to 'destroy' the new girl for fun. I also think this ties in with the line 'and think that you've won', as if it's talking to the new girlfriend having won him.

"I wanna be,
The hand that you lay
I'll let you handwrite my game
For
I wanna be
The poetry you write
Sublimation with a flow that's so,
Tight.
Like your boy,"

First impression: This was slightly hazy in meaning for me, while it instantly allowed me to come up with a visual for my adaptation, I think it's message feels slightly unclear. The one way that I can take its meaning, is from the line 'I wanna be the poetry you write'. Seeing as she's building up this whole fantasy through her poem about him, it's almost as if she wants it to be the same on his end, with him fantasising about her, and writing the same things about her that she does about him.

In my adaptation: The words of 'handwrite', 'the poetry you write' inspired me to have her literally begin to write out her fantasy in a bigger way than the last. Her bedroom - mostly her bed, are where I've had her live out her fantasy. So it seemed fitting for her to write across this 'safe zone' in big letters. Saying: 'HE'S MINE'. I think that this not only fits with the section of the poem, but really speaks just how much her grip on reality and her own sanity have been lost.

"Share all instances of carefree joy
Fight your fights
Share your pain
Then make it my own."

First impression: While many sections of the poem are creepy and obsessive in my eyes, this part feels more emotional and relate-able to the reader. As in love it is common that a couple would want to share each others joy, fight each others battles and share their pain. I think this allows the reader to feel for the poet/character more so than before in the poem.

In my adaptation: I took the first part of this to lead on from her satisfaction with having just put it in clear words that he's hers, having her actively represent how content she is by laying in the middle of the words with a grin. I then took the rest to lead into the next section, as he phone receives a message alert, and she looks panicked - relating to the idea of a fight and feeling pain.

"Your phone,
Use me to communicate
All feelings to love loss despair and hate
For I wanna be
The Soca that makes you whine, pine"

First impression: I feel that this is meant to refer back to wanting to be a part of his life in every way, through instead of using his phone for example, using her 'to communicate'. I also feel that it represents the fact that she wants to be there for for every feeling - 'love, loss, despair and hate'.

In my adaptation: I again took the literal use of a phone to 'connect the dots' for the audience in making it clear that she has most likely desperately reached out to him or stalked him and he flat out says in his message to her 'stay away from me'. The devastation of this text for the character allowed me to use the line of love, loss, despair and hate to be represented through her actions of angrily throwing the phone and collapsing on the floor in tears.

"The architect of your love line
Please, let me design."

First impression: I think that through the word of 'please' especially, it captures her desperation towards him. I also feel that through saying that she wants to 'design' their love, it could be referring to rebuilding it or making it right. Which signifies the fact that it's gone wrong.

In my adaptation: I used the desperation of the word 'please' as a strong moment in the adaptation. As she picks up the phone and appears to call him, then shouting "Please!" down the phone, and him seeming to hang up on her. I think this is a key moment when she can realise that her fantasy is just that, and is brought into reality permanently.

"The memory you trigger when you're down.
The riddle you ponder that makes you frown
With confusion, tryna figure the answer
I'll be your lecturer
Guide to conclusion that it's all cos you love her"

First impression: I see this as possibly the poet herself trying to figure out the way she feels and what the situation is between her and this man she speaks of. And that she wants to help guide him to the same conclusion as her own that he loves her. I think that in my eyes I'm seeing it as her once again trying to convince him of their relationship.

In my adaptation: While this section of the poem is only five lines long, I picked it apart, using a different action from my character for almost each line. I saw the first two lines as a way to refer back to the pictures on her wall that fuelled her illusion of a current relationship with him, and her wanting to rip them all down in anger and heartbreak, which she does so. I then had her collapse again, sobbing 'with confusion, trying to figure out the answer' with her clouded illusion fading and she realises the reality of the situation. And her then realising that they are no longer together and that he's gone from her life, and that 'it's all because you love her' - meaning his new girlfriend. I think that I twisted this section of the poem quite dramatically, yet I feel that I've done so in a very expressive and explanatory way that connects with my story very well.

"Me.
Your
Student ID
I wanna be
Part of your identity"

First impression: As 'Me.' connects to the line before of 'it's all cos you love her', this is the poet bluntly saying that he loves her. While I have twisted this in my adaptation, this section adds to the idea that she's trying to convince him of their love in the poem. And again, to me she refers to wanting to be a part of him by conclusively saying that she wants to be part of his identity.

In my adaptation: I mainly focused on the words 'I wanna be part of your identity' for the adaptation, being the most strong and expressive words. I used this to lead into the end of the film, by having her look back at her reflection in the mirror, as she does in the beginning. Except this time, instead of smiling, she looks disgusted, as she now only sees herself, alone.

"Provide knowledge
See you need me
To get into the library"

First impression: I think as the lines get shorter and blunter towards the end of the poem, they simply elaborate on earlier points said by the poet, as I feel that this once again talks about the fact that they belong together through 'see you need me'. However it somewhat adds satire to the section by adding 'to get into the library'.

In my adaptation: I again mainly focused on just the words 'see you need me', as the satirical words that follow would take away from the emotional and dramatic situation that is currently happening at this point in the film. I presented these words by having her say out loud 'you need me' as if talking to him. She looks back at the mirror once more, realising that she doesn't want to see her reflection without him any more and smashes the mirror on the floor. Also as if tying up any more loose ends from her fantasy.

"Fuck it,
I can only be
The woman I am
The woman you see."

First impression: I think that this sums up the end of the poem that after all of her exhaustive fighting for him and attempting to convince him of their love, that she realises that she can only be herself, whether that's what he wants or not. Which I feel I've been able to portray accurately in my adaptation.

In my adaptation: Once the mirror is smashed, it appears that she has resigned herself to giving up and very similarly to the lines of the poem, now feels that she can only be who she is and not what he wants any more. I represented this by having her approach the broken mirror and look at her reflection in the cracked glass. I think this gives the impression that she's now broken, and also refers back to the start of the film, due to the dramatic change she's undergone since looking at the clean, undamaged reflection she'd had before her that morning. I feel that this provides a very powerful, and almost haunting end to the adaptation.

Youth Media Agency Adaptation of Love Ambitions

My notes on the adaptation:

• Includes the poet, yet only in a silhouette style when saying the poem and silently acting out the cutaways
• Instantly an unusual and slightly creepy feel with the echo to her voice and the shadows surrounding her
• A heavy use of the colours pink and orange in the cutaways to her in a field looking happy, as if having a sense of freedom, with these vibrant, upbeat colours supporting it
• A very fast pace, potentially to resemble the panic that comes from the poem
• Very vague music in the background, relaxed atmosphere, fitting to the cutaway scenes, yet not to the pace of the poem
• Unusual techno sound effects
• Lots of close ups e.g. her eyes, her smile

I think that this adaptation greatly differs from my own. Due to the upbeat and relaxed tone of the cutaway scenes along with the use of colours such as pink and relaxed music. This contrasts to the dramatic and dark interpretation of the poem used in my adaptation that features downbeat classical music, darker and colder colours as the film progresses and the scenes being heavily focusing on the character being distressed and emotional. However I was originally inspired by certain parts of this adaptation through the use of close up shots to capture certain emotions that the actress portrays.

Bibliography:

Love Ambitions [poem adaptation online] Youth Media Agency. YouTube (2013) At: https://www.youtube.com/watch?v=5qCoj_abuNw Accessed on 07.12.15)

Fiction Adaptation: Poet Research

Deanna Rodger

Bio:

• A very successful and rapidly becoming well-known poet
• A former UK Poetry Slam Champion (2007/2008)
• A trained vocational actress - NYT's REP Company 2012
• Has appeared in spoken word and music videos, short films, plays and voice overs
• One of ELLE magazine's '30 inspirational women under 30'
• Nominated as a Rising Star for Hospital Club's 100 awards
• A workshop facilitator including The Agency BAC and Slambassadors UK. Also teaches the Writing Poetry for Performance module at Brunel University as well as teaching at School of Communication Arts
• Written and performed commissions for BBC: Women Who Spit, Words First & Freespeech
• Also written and performed commissions for Guardian News and National Youth Theatre: 2012 Olympic Team Welcome Ceremonies, Buckingham Palace & Speakers House
• A member of Keats House Poetry Collective
• Co-curates one of London's leading spoken word events: Chill Pill
• Currently writing and producing her own spoken word show called Matter
• Very interested in the universe, quantum physics and human nature

Two poems of hers adapted for film/video:

Landlords (2014)

• Spoken in the first person e.g. "cat flap for my cat, my garden..."
• Asks questions e.g. "how much does the average 24 year old earn now days?"
• "find me an honest landlord" - The poem centres around the thoughts of many that landlords can be someone who will "threaten to take the roof away" and that people just want someone kind that they can trust
• She is heavily featured in the video, as more than just a voice over artist, but on-screen among the London residential areas that she speaks of
• The video consists of many cutaways from the poet, including 'sold' signs, dirty taps and items such as bills resting on a staircase. These visuals connect extremely closely with the words spoken and express the reality of the situation she talks about

iPhone (2014)

• Spoken as if she's telling the tale of another woman and her boyfriend e.g. "her boyfriend hung up on her"
• However, she seems to get very emotional when saying the words, which could be interpreted by the audience that she's telling a story of herself in the third person
• While the video consists of just the poet speaking the poem to the camera, it brings intensity to it as she gives off the impression of anger and says most of the poem with a fast pace
• Similar to the poem of Love Ambitions it focuses on a women starting the fall apart over a man. However in this case, it's due to a woman not being able to trust her boyfriend
• Also very similar to Love Ambitions it has a powerful last line that is almost identical to the first. The first being: "I can't hear you, you're breaking up". The last being: "I can't hear you, we're breaking up"

Deanna's poems are very modern and emotional, focusing on realistic problems that young people face today, including being under the thumb of a landlord, and a smart phone being used to tell the story of a troubled relationship.

Her poems also seem to be very gritty and to the point. The words are blunt and specific, there are practically no metaphors so the poems explain themselves. This allows adaptations to interpret the words with almost whatever visuals they like, as they aren't there to explain her words, but to bring an artistic aspect to the poem.

With inspiration from her style as a poet, being very emotional and intense, I have followed that path of heightening the intensities of her words through dramatic visuals in my adaptation of Love Ambitions. Although a large difference is that while in her other poem adaptations she is heavily featured, saying the poem on screen, there will be no speaking of the poem in my adaptation. As I want the actress's actions and emotions to tell the story.

Bibliography:

Bio: (2015) Deanna: Biography At: http://deannarodger.co.uk/deanna-biography/ (Accessed on 07.12.15)

Landlord [poem adaptation online] The Guardian. YouTube (2014) At: https://www.youtube.com/watch?v=YrlxdltPYbo (Accessed on 07.12.15)

iPhone [poem adaptation online] Chill Pill Shorts. YouTube (2014) At: https://www.youtube.com/watch?v=P-v5qK9Qb_o (Accessed on 07.12.15)

Fiction Adaptation: Shoot

On Friday 27th November I held my shoot day. I used another course member's spare room for my set, a UCA actress as my main character and another course member as my camera person / helper.

Expectations vs. Reality
I used one day for shooting as I wanted three different types of lighting, as the film's tone gets darker, I wanted the outside light to get darker with it. So I filmed a number of shots in the morning and early afternoon, a small amount of shots in the late afternoon and a larger amount of shots in the evening. I had worries on the day that I would not complete the 'daylight' shots in time, however using my shot list made shooting go very smoothly and in a more timely manner than expected.

I found that while shooting in a bedroom allowed me to have no worries about issues such as weather or interruptions, the size of the room caused some issues. I found that the room was too small to get certain shots that I wanted and was too small to set up certain equipment such as a lighting kit. Due to the tightness of the room, I had to film most shots on my own so that the room only had myself and the actress, allowing her to move around more.

An example of the lack of space in the room

Issues
Due to the lack of space in the room meaning that I couldn't use a lighting kit without it being either dangerous from the possibility of overheating or it being in shot or too bright due to closeness, my lighting suffered. While I didn't need to rely on extra lighting in most daylight shots, it became more obvious that the quality of lighting decreased in the evening and 'sunset' shots.

Another issue with lighting was the affect of weather outside. Due to it being very overcast with dark clouds, the daylight in the room often dipped and became very dark, so this not only made the lighting in the room vary from scene to scene, but made it difficult to get quality lit daylight shots in certain places. I will need to use certain effects and make changes in Final Cut when editing to create consistency in lighting and colour between shots as well as fix some over and under exposure issues.

I found that claustrophobic feel of the small room had an effect on myself and my actress when filming, it seemed to make filming more difficult and more draining, which meant that I struggled with energy when consistently holding up the camera for steady handheld shots, and she felt less energetic in her performance. However, the timeliness of filming allowed us to have a number of breaks to regroup and regain our energy.

Filming was delayed slightly towards the end of the shoot due to running out of space on the memory cards. This meant that I had to take a break and look through every clip and be brutal in deleting a large amount of them to make room for my final scene.

I planned to use a Go Pro camera for my top angle shots, with it mounted onto the ceiling or wall, facing down onto the bed. However after a lot of effort, we could not get the mount to stay attached to the surfaces. So my solution was to stand on the bed, leaning over the actress with the Sony camera to get my top angle shots. While this allowed me to get the shots I needed, I feel it took away from the look I had in mind and lacked in quality of the shots slightly.


What Worked
Due to being prepared in scheduling of set up time, set dressing, time slots for shots and breaks, I think the overall filming process ran smoothly. We were on location for approximately 8 hours, and filming for about 6 hours in total. I think having all of my props ready along with having the script and shot list to hand allowed me to be organised and get into a flow when filming.

I feel that I got a great amount of coverage when filming, I had 99 shots on my shot list, and I now have 158 clips, with approximately 100-110 of them being original shots and not reshoots of certain moments. So I feel very accomplished with the amount of footage I captured.

My actress portrayed both sides of the character very well, I feel that she was great at bringing emotion to the film and was very professional to work with which made filming much easier.


What I Would Change
I would use a larger location for the set of the film so that I had more options when filming shots, for example wide shots. As well as the actress being able to use more space and being able to have more crew members involved. Also being able to set up a lighting kit would have highly benefited the shoot.


Final Result
Overall, while I had a lot of issues in filming, I think the end result has turned out very well. There's a lot of improvements to be made in post production, especially to lighting. But the amount of coverage I have along with my actress's performance will benefit the film in editing.

Fiction Adaptation: Preparation

In order to have all of my decor and props ready for filming day I had to undergo a lot of preparation. From both purchasing items and gathering my own items to use as well as personalising certain props.

Items I purchased for filming:

• Two vanity mirrors
• Pyjamas for the main character
• A man's shirt for the main character
• Notepad
• Marker pen
• Bed sheet

Items of my own and borrowed items:

(Props)

• Men's cologne (CK One)
• Collapsable chair
• Desk (really a vanity chest to fit in the room)
• Photo frame
• Laptop
• Books

(Decor)

• Candles
• Women's clothing on hangers
• Make-up bag
• Hair products
• Handbag
• Jewellery
• 'Girlfriend' greeting cards

I then prepared four different props for the film's plot...

Firstly I created a fake Facebook profile for the character Ben using Microsoft Paint and Adobe Photoshop. As I used a member of my course, I used his real Facebook profile as a template...

Original Facebook profile

Fake / transformed Facebook profile

Changes made:

• Name on profile (in 4 places)
• Name of girlfriend (in 3 places)
• Some photos changed in 'Photos' section
• Profile picture (the image is an uncropped version of the image in the prop photo of Ben used in the film)
• Cover photo
• The 'Friends' button changed to 'Add Friend'
• Removed occupation
• Created fake 'Timeline' posts for representation that he's in a happy relationship
• His name in the search bar
• The small profile name and picture changed from my own to an image of my actress and the character name, Dawn.

Here is the profile in film...

(Lighting to be fixed in post-production)

I then picked out a number of photos of the character Ben and the character of his girlfriend, Maddie. I used real images from Jordan (Ben) and his real girlfriend Charlotte (Maddie)'s Facebook profiles with their permission. The photos of Ben were to be stuck on the wall in-film along with images of Ben and Dawn from my photoshoot as well as one image to be framed as a prop. The photos of Maddie were to be used when Dawn rips up the images hidden in a book due to her hatred of the new girlfriend.

After carefully selecting and cropping the images, along with carefully selecting the best images from my photoshoot that portray Dawn and Ben's past happiness, I printed them out and cut out each image. Lastly, I placed an image of Ben in a frame to create the prop object for Dawn's use.

Before

After

Lastly, Dawn breaks her vanity mirror in the end scene of my film. So this meant keeping one mirror in tact for scenes of her using it unbroken, and breaking the second mirror before filming. This allowed me to avoid any accidents if my actress broke the mirror on set, along with having control of the end result of the broken mirror by doing it beforehand.

I took the mirror outside and lightly tapped areas of it with a hammer to carefully and strategically break it. I then glued certain loose pieces back on for the cracked reflection I needed in-film and kept other broken pieces to place around the mirror the make it more realistic that it has been thrown to the floor in-film.

Before

After

In film

I'm very pleased with how all of my props and decor turned out for use in my film. I think preparing all of the items beforehand and keeping organised benefitted me a lot on shoot day with it's smooth running and organisation, allowed areas such as using the broken mirror to be safer and allowed the quality of the props to be higher than it would have been if prepared last minute.

Fiction Adaptation: Shot List

Something that I find extremely important to have by my side during filming is a shot list. So I have created one that has nearly 100 shots. I want to get an extremely large variety of shots so that I have a lot of coverage and more options when editing the film. It may also space out the timing of the film, allowing more of the poem to be presented on screen between the character's actions.

Viewing / Download Link: Megan Waters Shot List

Fiction Adaptation: Photoshoot

As previously mentioned, I planned to hold a photoshoot to create in-film photographs of the characters Dawn and Ben - appearing as if they are from a time when the pair were in a relationship.

I decided to take the photos at my house, as I've noticed that most photos of couples are often photos taken of themselves when alone together at home. I used the living room and my bedroom for this. I also had them use three costume changes so that the photos will look like they were taken separately to each other.

The style of photos I took were having the characters appear as if they were taking the photos of themselves, and as if a friend captured photos of them. I think this makes them appear more personal and realistic. I also decided to take the same photos for each costume, and then I will select certain pictures from each location and outfit. The camera I used was Nikon for high quality photos.

I'm very pleased with how the photos have turned out, I think they clearly tell the audience that the two characters were once in a relationship and appear to be realistic. I will now print them off to use in the film.

Examples of the same shot used for different outfits....

Fiction Adaptation: Storyboard

I spent a few days working on a storyboard that closely resembles how I expect the overall appearance of my film to look and to visualise the script. 

I plan to use a wide variety of shots (alongside a change in lighting) to compisate for the fact that it will be set in a small room, this will also bring a lot of variety to filming and build a lot of drama. As well as give me good coverage. The shots aren't as detailed and accurate as they will be in my shot list, however I feel that this was a good way of producing the images I am preparing for before filming.