Sam Babington

Directions Unit Directors Statement Sam Babington Television Production Year 1 24th February 2014 Word Count: 3532 Simon Welsford

Sam Babington

Directors Statement
Lighting/visual style
The use of low-key lighting should remain consistent throughout my story. This symbolizes a disruptive narrative and the idea that my main character is feeling trapped, due to school and stress taking over his life. This can be obtained by using little artificial lighting i.e. no lights in the house in addition to reducing the amount of sunlight and instead filming in rainy/cloudy weather, creating a monotonous feel within the story. Additionally, the visual style must also show a clear juxtaposition between light and dark. This helps to signify the change in the character once he receives his results. Such opposition is evident in Breaking Bad (Fig.1) the character, Mike, is seen in darkness despite being in open land with lots of sunlight. This relates to the characters mood as he is trying to escape but cant. Thus, this visual style must remain apparent throughout the narrative to reinforce the idea of my character being metaphorically trapped.

Figure 1 Juxtaposition of light in Breaking Bad

Nevertheless, once the character receives his exam results, the visual style should change significantly high key lighting should be used to reinforce the character becoming free. For example, the weather should change from being cloudy to sunny. This shouldnt include any artificial lighting and instead use naturalistic lighting only to emphasize that the change of the character isnt forced.

Sam Babington

Cinematography
Composition
Another approach I am planning to use is the idea of developing a uncomfortable and tense feel by from the use of the cinematography, which can be achieved from the intentional use of the composition of a shot. For example, Catherine Hardwicke, who directed Red Riding Hood, frequently used asymmetrical shots to position the characters to the side of the shot, as you can see in Fig.2. This is similar to the use of dynamic composition making the shot seem unbalanced and disrupted. Such approach helps to intensify the stress and entrapment of my character, which initially should make the audience feel uncomfortable. However, once the change in the story occurs (receiving his results), the composition should then become more neutral and static, to signify the freedom of the character e.g. symmetrical shots instead of asymmetrical.

Figure 2 assymetrical composition Figure 2 in There Will be Blood

Shot sizes
Additionally, I feel extreme close up shots would also help to entice emotions within my story and help to make the audience engage more with my characters. This is evident within Breaking Bad (fig.3) where the extreme close up reinforces the stress of the character as well as making the shot seem tight, thus enhancing the emotivism compared to if a medium shot was used.

Figure 3 extreme close up in Breaking Bad

Sam Babington Such use of the camera must be consistent so that the audience always feels on edge and uncomfortable until the character changes, which additionally makes the change seem considerably effective. Nonetheless, the change in the story should then revert to longer shot sizes (i.e. medium shots) to make the shot seem loose and calm, thus showing that the tension (stress of the character) within the story has been released.

Shot Angles
To help and reinforce the idea of stress taking over my main character, I feel it would be effective to make the camera dominate my character showing how stress is overpowering and that school is metaphorically taking over his life. This can be done by frequently using low angle shots making the character seem weak and defeated by pressure. Nonetheless, once the change occurs, shot angles should then become neutral similar to the shot sizes and lighting, which I previously mentioned. Eye level shots could be consistent to show that nothing is being dominated, however I am planning to use some low angle shots, which create an overwhelming sense of my character now instead dominating school, and how he has now escaped being stressed. As you can see in the image below (Fig.4), the low shot works effectively to make the character (Mike) seem more superior and bigger than he is, thus relating to the shot as you can see he is pointing a gun at the other more vulnerable and weak character.

Figure 4 - Breaking Bad

Although not as significant as the other shots listed above, I also intend to use a few establishing shots to help set the beginning of each scene. Such extreme long shot will enable my audience to understand the locations of my film, thus likely to help them understand the story better once they learn the surroundings. This is also evident in Breaking Bad where the programme frequently uses establishing shots to show the current location and to also show the progression of time, as the shot is rapidly sped up to show time passing by. For example, Figure 5 shows an establishing shot of the house (with the green

Sam Babington and yellow cover on) which is where the characters are cooking drugs in, where to is sped up to show how long they are in there for. Thus, I intend to use establishing shots within my film to introduce most new scenes so that the audience can acclimatize and understand my films environment.

Figure 5 - Breaking Bad

Colour Palette
To reinforce the idea of being trapped, Ive chosen to use a monotonous colour palette. This revolves around the idea of using a limited range of colours focusing on bland, basic colours. The palette should work to create an uninviting tone within the film (similar to the camera use), which furthermore links to the almost depressive state of my character. However, such monotony must reverse once the character receives his results this should switch to the use of more colours which work together to create a vibrant and inviting feel within shots, which additionally is emphasized from the use of naturalistic lighting and the change in weather. To generalize, the ending must be more inviting for the audience and should be easy to recongise that my character is now free. For this approach, I intend to add a colour tone until my character receives his results. For example, the image below is taken from the film Dredd (Fig.6), however I am aiming for a more subtle approach which is noticeable however not as artificial (like the image) that it may reduce the realism of my film. You can see that there is a red tint thus signifying a disruption, which therefore in my film signifying the disruption of Kane getting his school results, and whether he will get the grades he needs. This should then juxtapose against a brighter and more vibrant colour tone once he receives his results, which you can also see in the image taken from the film Promethus (Fig.7) the general light has been enhanced, creating an inviting feel in my film. Thus, the use of colour tones must remain minimal yet noticeable to an extent that it doesnt damage the realism of my film.

Sam Babington

Figure 6 - Dredd

Figure 7 - Promethus

Costume Design
Linking to the colour palette, my costume design will follow a similar path. My main character should be wearing a simplistic and bland outfit perhaps a black polo, basic blue jeans and black shoes. This should counteract with the teacher whom he gets the results off. For example, the image below is taken from the film Superbad (Fig.8) the character in the middle (Evan) is wearing an arguably bland costume design as there isnt much of a variety in style as well as colour. This reflects to his personality in the film as he is portrayed as a shy and timid character, thus showing how the costume design helps to reinforce character development.

Figure 8 - Superbad

Nonetheless, the teacher should be wearing a more vibrant and noticeable outfit e.g. patterned shirt, bright jacket, etc. Nevertheless, the audience must be able to recongise that he is a teacher. Therefore, the outfit could be a bright coloured suit or something a bit more casual like a patterned shirt and trousers. For example, when looking at Figure 9, you can see that the characters costume design instantly creates an inviting and protoganistic feel due to his patterned tie and blue shirt, which would work effectively within my film as my teacher role is meant to be inspiring and trying to help Kane with his results.

Sam Babington Thus, there should be a clear distinction in terms of colour between my two characters plus recognition that one is a teacher, and one is a student.

Figure 9 - Bad Teacher

Metaphors
When looking at my story as a whole, it is clear that it is one big metaphor the idea of my character being trapped then becoming free. However this is repeatedly reinforced through a variety of different ways e.g. through the colour palette, lighting, costume design, camera use, etc. This must remain consistent throughout so that the audience recongise how the whole mood of the story changes when my character becomes free in both a physical and metaphorical way.

Location and Symbolism

For my film, the location is key due to it hinting towards character development and the plot itself. My main location is my main characters bedroom. Here, I am planning to use the mise-en-scene and props carefully so that they create subtle hints towards the plot and the main character himself. For example, the bedroom should generally be quite messy with books scattered on the floor, paper screwed up in and near a bin, stationary scattered, etc. This symbolism of school conventions links towards the characters stress and anger with the pressure of exams, however only hints towards this. Additionally, this symbolic use of the props and mise-en-scene creates an enigmatic atmosphere making some of the audience become interested, due to having unanswered questions such as why is his room so messy, etc. Below is an image of roughly how I would like the bedroom to look like (Fig.10) you can see that the bedroom is generally messy, however when looking closely you can see school books and school stationary are lying on the floor. Thus, this idea of symbolism generally introduces the film as well as hinting towards character development.

Sam Babington

Figure 10 - Kane's messy room

My second location must be chosen carefully the location should reflect to my characters anxious and nervous mood. This is where a tight and narrow location could be used to reinforce this ideology of my character feeling mentally trapped. So, I have decided to use a thin, narrow alley that leads up to the school where Kane gets his results. Thus, the monotony of the alley remains symbolic to the theme of my film, which additionally makes the theme consistent. Below is an image of the alley (Figure 11) you can instantly see that the walkway is narrow and that the character is literally trapped in between the two fences on each side.

Figure 11 - Alley location

My third location is situated at a secondary school. This is where Kane travels to pick up his exam results, meaning the audience must be aware that he is going to school. So, my film must include conventional signifiers of a school to promote awareness of his current location. Figure 11 shows a long shot of a colourful new building perhaps a building which when looking at properly is likely to be related/be a school due to the colours. You can also see a logo to the right of the image, which could also be the logo of the school. Nonetheless, my film must frequently show conventions that signify education not necessarily a school, but somewhere where my character would travel to get his exam results i.e. a college.

Sam Babington

Figure 11 - School Location

My finale location too is considerably important for my film it is where the change of the narrative begins, as it is where Kane collects his results. However, the location must also reflect on Kanes emotions and the audience should still feel uncomfortable. This is why I have decided to use a tiny teachers office it ambiguously allows the tightness and entrapment of Kanes emotions to flow, as well as symbolically showing the audience that Kane is collecting his results from a teacher in his office. Figure 12 shows the sheer smallness of the office as well as showing how props such as a desk, computer, phone etc work to signify a teachers office.

Figure 12 - Office Location

Similarly, some props can also be used to help foreshadow the narrative. This is evident in Breaking Bad (Fig. 13) where the use of a tarantula is shown at the beginning of a episode which then is shown at the climax of the episode. The tarantula is shown briefly at the beginning however appears at the end when a character dies. Such foreshadowing will be evident in my story I plan to give hints that it is results day. This can be done by briefly showing a calendar with Results Day circled, as well as notifications on a phone, etc.

Sam Babington

Figure 13 the foreshadowing use of a tarantula in Breaking Bad

Sound Design
In terms of sound design, I am planning to use a minimalistic approach instead of using sound to tell the story; I will focus on using props and mise-enscene. The director Paul Andereson uses this idea of little sound. For example, in There Will be Blood, there is no dialogue within the introduction of the film. Such approach would work significantly in my film as I intend to make the plot of my film quite secluded (like my main character) and want to make the audience try and work out what is happening, thus gratifying some of their surveillance needs (when looking at the Uses and Gratifications theory). For example, they are likely to engage more with the film if they are trying to unsolve the plot. Nonetheless, this restricted sound approach should only focus on the use of naturalistic sounds i.e. sounds that appear when filming, dialogue, etc. This means artificial sounds (like sound effects) must only be used when needed so that my story develops a sense of normality and generally be quite neutral, making it seem more realistic and understandable. However, to reinforce the idea of my character becoming free, I have decided to juxtapose this minimalistic sound design by using an uplifting and energetic soundtrack. This is where I have chosen to use an electronic dance genre-based song the genre of music will emphasise the change in mood once my main character receives his results and more importantly to celebrate his freedom from school. Nonetheless, the song should only be played shortly to end my film not for too long otherwise it may lead to some of the audience becoming bored of the soundtrack. Thus, I will use a soundtrack to end my film, so that my film ends in a positive manor.

Sam Babington

Performance Cast
Nonetheless, the casting for my film doesnt have to be very experienced due to the lack of dialogue. My main character, Kane, must be a very timid and quiet character however is a student whom is very determined to be successful. An example of an actor similar to mine would be Joe Slater who plays Lenny in Waterloo Road (Figure 14). In the drama series, Lenny is portrayed as a trapped character who is dominated by his sister, making him to be presented to be weak-willed and timid.

Figure 14 Lenny in Waterloo Road

The teacher role however is portrayed very differently compared to my main character. The teacher doesnt have to be experienced due to his little involvement within the story. However his role is still important the teacher is represented as a motivated and inspiring teacher. An example of this could be Justin Timberlake in Bad Teacher. He is represented as a successful and jolly teacher whom the students aspire to. Additionally, his dress sense shown in Figure 15 below would work effectively for the teacher role in my film. The idea of having an aspirational teacher is to almost create a link between my main character changing from being trapped to becoming free the teacher should create subtle signs of hope for my main character and more importantly is the only evidence of hope and positivity before my character receives his results.

Figure 15 Justin Timberlake in Bad Teacher

Sam Babington

Theories
Kuleshov Effect
In the late 1910s and early 20s, a Soviet film maker named Pudovkin conformed in a number of experiments where he would re-edit existing footage and then show the results to the audiences, asking about the bits they saw. This experiment existed in a variety of ways however the most famous and known experiment was based on a Russian actor called Kuleshov. The idea was to juxtapose the expressions on the actors face with a series of different images which initially would make the audience respond differently to each expression they see based on the fact that the actors expression changed. This performance has now been interpreted differently and is commonly found within film, and is known for being the basis of the Soviet Montage. The purpose of this effect is to show how a part of the film can change the actors expression, thus initially creating more feeling and emotion within the film, making it seem more effective and dramatized for the audience. This theory will be evident within my film as I am planning to show a juxtaposition of my main characters reaction to when he receives his results and opens the envelope to see which results he will get. For example, Kane will be nervous when he receives his results, will then juxtapose to him becoming surprised and happy when he sees his results after opening an envelope. Therefore, I will incorporate this theory within my film, especially at the moment when Kane receives and opens his results.

Uses and Gratifications Theory

Another theory, which I have previously briefly mentioned about, is the uses and gratifications theory, created by Blumler and Katz. The idea of the theory is that it proceeds the needs of users and the probable gratifications that they derive from media use. The theory consists of a variety of different needs and gratifications, such as diversion, surveillance, personal identity and personal relations. It is the theory as to why we watch media and what we benefit from it. This is evident within my film as previously mentioned the audience gratify surveillance needs by answering enigmas within my film i.e. why is my character going to a school, why is he worried, etc. This is shown through the use of the mise-en-scene and props as well as through the characters non-verbal communication. Additionally, my film also provides personal identity gratifications. This is because some of the audience may be able to relate to the situation which Kane is in, thus relating it to a personal experience which is likely to make my film seem more meaningful and effective.

Sam Babington Thus, my film incorporates some elements of the uses and gratifications theory which generally work together to improve the significance of my film by making it seem more relative and meaningful for some of my audience.

Editing
In terms of editing, I will be using continuity editing my film will not involve any flashbacks or reverses in the narrative, instead there will be a continuum in the narrative. This is evident throughout my film apart from at the end where I will use a crosscut showing Kanes reactions to his results which will then cross to him tidying his room and being on the phone. This allows me to speed up the narrative pace slightly as it creates two narrative strands, however also allows the narrative to flow at a consistent pace. Thus, continuity editing will be used to allow my narrative to flow easily and to reduce the chance of the audience becoming confused on what is happening in my story. As mentioned earlier, I will also be using a colour tone frequently throughout my film. This means that a effect will be used on almost every shot so that the tone is evident throughout my film. Additionally, I will also be using a variety of effects to help intensify the narrative. For example, when using a point of view shot of Kane, I will add effects to physically show the nerves hitting Kane by making him look dizzy and light headed. Such effects are evident in figure 16 which shows doubled and distorted vision. This image also is using a similar color tone, which I will be using throughout my film until Kane receives his results.

Figure 6 - Distorted/dizzy effect

Sam Babington The idea of having this distorted effect must be shown when the camera is in Kanes perspective, which as well should become more frequent and intense the closer the story gets to meeting the climax (the results). This ideally helps to make the climax much more effective and dramatic, thus making the change more promising and emotive for the audience.

Bibliography
Uses and Gratifications Theory: Fourie, Pieter Jacobus (2001). Media Studies: Institutions, theories and issues. South Africa: Juta Education. 297. Kuleshov Effect: Betancourt, Michael (2004). Structuring Time. 2nd ed. London: Wildside Press. 97.