Working with the actors

An ensemble film, the script will be learned, then abandoned. With the story further developed through character workshops and improvisation. With a basic narrative framework built by the director, the cast undergo an intense rehearsal period of spontaneous, improvised scenes building characters based on a shared history and reality. Discovering, from the inside out, the person they will be playing. Forming opinions, making decisions, creating three dimensional characters that will exist in this strange world we are creating. At the start of the process we will build up rough character frameworks. Intermixing the styles and methods of Uta Haagen and Stanislavsky, which will include discussion, hot seating, memory impro and character ‘dates’ we will explore character traits, summation, purpose and intentions. Thoroughly building up a rounded character portrait. Moving further into the idea of space and place, we now begin to explore the personal relationship and then shared perceptions to geography - both local and otherwise. What is the effect and influence immediate locality has had on each character through their lives? We will investigate the sense of the individual, the community and then shift our focus a little wider to grasp how the city has influenced behaviour, thoughts, feelings and physicality. Going off script in a number of ways to play with dimension and development, we will finally come back to script to fine tune character and narrative in a much more conventional ‘rehearsal’ frame.

Technical Notes

Shooting HD will reflect the creation of a world that is focussed on detail, texture and colour. I plan to use the Arri D-20, a HD camera that combines the handling, functionality and creative options of film cameras with the immediacy of digital cameras. The D-20 uses the same lenses as 35 mm film cameras with resulting images having the same depth of field as 35 mm film. Other issues essential to cinematography are also addressed: the D-20 has the ability to capture images at higher speeds, it runs speed ramps, has excellent colour fidelity and a high dynamic range. In terms of sound recording, rather than just using a typical boom mike to pick up dialogue, all the actors will wear portable microphones to assist in creating overlapping dialogue. We will record Master sound on the HD Camera to create a permanent synced source of CD quality sound for Downconverts and Offline, in addition to a separate sound record. In terms of FX, there are few in the film. The flying scenes will be made using simple wirework/bluescreen techniques with clean up done in post. In terms of adding the dreamlike sequences, we will create this by reversing direction, slo mo/under cranking, shooting hand held and ofcourse the grade. In terms of cinematography, the film will use a mixture of close detailed shots and languid wider cover. Imagine an assortment of long, graceful frames that are interspersed with jump cuts reminiscent of the French ‘New Wave’. The point of this is to create and once more reflect a world that at times seems smooth and somehow still and immobile and others suddenly syllabic, unrelenting, engulfing and confused. In terms of coverage, there will be little use of mid-range work, instead we will opt for detailed CU and long LS. The current shooting coverage of US drama 'Heroes' is a good example of this style. We will create fluid ‘one shot’ scenes, with the camera always on the move to prevent the actors from acting to the camera but instead to play the scene more naturalistically.