So, I've been rather remiss in my blogging about Urban Endings. My best defence is that I've been busy working on it.
My script poses several production challenges:
First, it requires a high quality of actor. While it is true of any film that you want the best actors possible, I would say that mine, which depends so much on the emotion of the characters, and contains little to no action, it is especially vital. And good actors, they don't come cheap. Well, they do, but it's harder.
I actually wrote the script with one actor in mind - my advanced higher drama class happened to produce two successful RSAMD applicants and one very talented actor. And this was a class of three. We're good friends and I know it'll be great to work with him again.
For the other part, the mother, I had to do some casting work. I knew it would be tricky - good, older actors willing to work for a nominal fee are hard to find, far harder than student age ones. I have, however, secured an actress called Margaret Fraser who I think will be very good.
So far, then success!
Another challenge is that the design vision I had for it is quite pricey to achieve. I made myself a mood board and it was all Mise Van Der Rohe modernism (I blame my architect sister) - hard to achieve on a budget. However, I decided to go down a slightly unconventional route and ask the people at BoConcept, the coolest furniture shop in Glasgow, if I could use one of their display areas. They have very kindly agreed and we'll see how this goes.
I also found a great little cafe on Ingram St which fulfilled the criteria I needed it to - glass windows, not too busy an area, smart looking interior. I was also chuffed that in assessing whether it would work I got to exercise my Artemis app - I could tell whether the camera would be too close/far.
Again, success!
The other big challenge I have is the little matter of the pill props. There are numerous ways of getting round that, including the rather awful idea of carving a stick of chalk, but I needed to find one which would
a) pose no danger to the actors
b) look right
After several tests I have decided to empty out capsules. I have still to decide whether to fill them with sugar (it depends on whether the weight change is visible) but it makes the most sense, being safe and still looking real.
I'm looking forward to getting all these off the ground - it's certainly a big project to be making 13 individual films! Part of me is craving a break after grads but there'll be plenty of time for that during summer and before then I'll get to be camera op, DOP, sound recordist, director, producer and editor. Fantastic.
Thursday, 26 May 2011
Filming log: My First Spellbook
In a way it was quite reminiscent of last year to be working with Murdo on a production. I was production assistant on his second year film, "Broken Bubbles" and in many ways it was good preparation for "My First Spellbook".
A large portion of my job was prop procurement (in the pre-production anyway) and I have to admit, I enjoy taking a wodge of petty cash and being told to spend it. The biggest challenge was getting furniture, and in this area Meg (production assistant on Taxidermist) definitely outshone me. I'll definitely keep in mind the place where she bought it, sounds like a great resource. I did have to deal with the slight challenge of getting Hallowe'en-esque decorations in the middle of May. I got some funny looks for that, I can tell you. Still, between Alicia in first year, a joke shop and our brilliant art department we managed rather well.
The phase I enjoyed the most was definitely when I transitioned into being the 2nd AD. Partly that was because I could enjoy a slightly more leisurely day (I woke up every day with a phonecall from the crew pick up, needing to field some problem or other) and partly because, you know, I think AD work really suits me.
The only thing I didn't like about being the 2nd was that I was so far from the action. I'd write up these call sheets and movement orders and then hear back about what was happening. It's like organising a party and forgetting to invite yourself. It's hardly as if I was needed, I just really love being on set.
That brings me to my favourite day: the day I stepped in as 1st AD: our 1st, Sean, was ill and it fell to me.
I really, really enjoyed myself. It's like being given a set of interesting and important problem solving problems laced with people management. Brilliant.
I did well, too. Everyone was happy (well, happy enough, as far as I could tell) and we finished ahead of time.
The next two days I was 3rd, along with Julia. Because of the nature of our set up we had very little to do for most of the day though that was amply made up for after 3. I did help out with the tarantula event, escorting Ginger and her owner through the school and generally keeping it on the down low.
After three: the two hours of doom. I have to wonder how primary school teachers manage because children are... insane. I'm used to working with kids, but they tend to be older and to have chosen to be there. These kids were press ganged and at times difficult to marshal. My biggest test was the last set of shots on Friday when it was getting late, they wanted to go home and we needed them to be at their most docile.
Oh dear.
The result was that the crew got to hear my teacher/sergeant major voice. Apparently it was hilarious, but it was also very effective. Through a mixture of praise, authority and the invocation of the head teacher we got them to do what they needed to. Eventually. They marched up the stairs, not too fast, not too slow, and they didn't looking into the camera. Or few enough of them did that it can be cut around.
It was a great film to work on and I feel really invested in it, having been there from so early on. I can't wait to see it, I'm sure it'll be great! And I'm really glad to have established for myself the way I want to get into the industry.
I also have a theory: child working hours have nothing to do with how long children can work. It's how long adults can work with them. I went home far more tired on Friday than I did after any 12 hour Taxidermist day.
A large portion of my job was prop procurement (in the pre-production anyway) and I have to admit, I enjoy taking a wodge of petty cash and being told to spend it. The biggest challenge was getting furniture, and in this area Meg (production assistant on Taxidermist) definitely outshone me. I'll definitely keep in mind the place where she bought it, sounds like a great resource. I did have to deal with the slight challenge of getting Hallowe'en-esque decorations in the middle of May. I got some funny looks for that, I can tell you. Still, between Alicia in first year, a joke shop and our brilliant art department we managed rather well.
The phase I enjoyed the most was definitely when I transitioned into being the 2nd AD. Partly that was because I could enjoy a slightly more leisurely day (I woke up every day with a phonecall from the crew pick up, needing to field some problem or other) and partly because, you know, I think AD work really suits me.
The only thing I didn't like about being the 2nd was that I was so far from the action. I'd write up these call sheets and movement orders and then hear back about what was happening. It's like organising a party and forgetting to invite yourself. It's hardly as if I was needed, I just really love being on set.
That brings me to my favourite day: the day I stepped in as 1st AD: our 1st, Sean, was ill and it fell to me.
I really, really enjoyed myself. It's like being given a set of interesting and important problem solving problems laced with people management. Brilliant.
I did well, too. Everyone was happy (well, happy enough, as far as I could tell) and we finished ahead of time.
The next two days I was 3rd, along with Julia. Because of the nature of our set up we had very little to do for most of the day though that was amply made up for after 3. I did help out with the tarantula event, escorting Ginger and her owner through the school and generally keeping it on the down low.
After three: the two hours of doom. I have to wonder how primary school teachers manage because children are... insane. I'm used to working with kids, but they tend to be older and to have chosen to be there. These kids were press ganged and at times difficult to marshal. My biggest test was the last set of shots on Friday when it was getting late, they wanted to go home and we needed them to be at their most docile.
Oh dear.
The result was that the crew got to hear my teacher/sergeant major voice. Apparently it was hilarious, but it was also very effective. Through a mixture of praise, authority and the invocation of the head teacher we got them to do what they needed to. Eventually. They marched up the stairs, not too fast, not too slow, and they didn't looking into the camera. Or few enough of them did that it can be cut around.
It was a great film to work on and I feel really invested in it, having been there from so early on. I can't wait to see it, I'm sure it'll be great! And I'm really glad to have established for myself the way I want to get into the industry.
I also have a theory: child working hours have nothing to do with how long children can work. It's how long adults can work with them. I went home far more tired on Friday than I did after any 12 hour Taxidermist day.
Film Log: The Taxidermist
I say this every other blog but god, I really love making films. If I can do this and manage to pay my rent and bills, I'll be very happy.
Anyway, that bit over with, here is my reflection on working on The Taxidermist:
I loved the script when I read it. It was sweet without being saccharine, gory but funny, and I could just picture it
It has been an exciting time all round - every day this week I've been driven deep into the mountains where there's no signal, no internet, and worked at learning a job I've seen but never done.The lack of communication was excellent for our focus but it was always a bit overwhelming to check my emails on the journey back and find that the world outside was moving on.
I heard great things about Amélie's skills as a clapper loader so I wanted to try not to be a let down but I will be the first to admit that I've made mistakes as I went. None dramatic but still annoying: messing up slate numbers, ignorance of things like how to do an end board properly, dropping things, prioritising things wrong. Lots of stupid stuff like that; stuff that slows filming down and makes it that bit more annoying for everyone. For that, I'm sorry.
I think I learned my job better as the week wore on, though. By Friday, even without Dilara there to help (and she was invaluable) things ran really smoothly - batteries when batteries were needed, always a spare card, notes kept detailed and accurate, monitor where it needed to be. It's a bit tragic that this only happened on the last day but next time hopefully I'll get right back into it.
As far as I could tell the clapper/loader is all about keeping on top of things: I had to know where things were and be able to get them quickly. I'm quite good at spinning plates once I understand what needs to happen.
I loved working with the third years and with the RED (it's a beautiful instrument). Galina was even kind enough to teach me a bit of RED, and let me practice my focus pulling (I'm not that bad at it, though more practice is definitely in order). Very excited to get my mitts on it properly and discover the layers and layers of complexity within.
I don't really think I can take responsibility for how beautiful it will end up looking (and I'm pretty certain it will be) but I'm still very glad to have been there.
It's scary to think that next year it'll be us doing out grads. Eep!
- Posted using BlogPress from my iPod touch
Anyway, that bit over with, here is my reflection on working on The Taxidermist:
I loved the script when I read it. It was sweet without being saccharine, gory but funny, and I could just picture it
It has been an exciting time all round - every day this week I've been driven deep into the mountains where there's no signal, no internet, and worked at learning a job I've seen but never done.The lack of communication was excellent for our focus but it was always a bit overwhelming to check my emails on the journey back and find that the world outside was moving on.
I heard great things about Amélie's skills as a clapper loader so I wanted to try not to be a let down but I will be the first to admit that I've made mistakes as I went. None dramatic but still annoying: messing up slate numbers, ignorance of things like how to do an end board properly, dropping things, prioritising things wrong. Lots of stupid stuff like that; stuff that slows filming down and makes it that bit more annoying for everyone. For that, I'm sorry.
I think I learned my job better as the week wore on, though. By Friday, even without Dilara there to help (and she was invaluable) things ran really smoothly - batteries when batteries were needed, always a spare card, notes kept detailed and accurate, monitor where it needed to be. It's a bit tragic that this only happened on the last day but next time hopefully I'll get right back into it.
As far as I could tell the clapper/loader is all about keeping on top of things: I had to know where things were and be able to get them quickly. I'm quite good at spinning plates once I understand what needs to happen.
I loved working with the third years and with the RED (it's a beautiful instrument). Galina was even kind enough to teach me a bit of RED, and let me practice my focus pulling (I'm not that bad at it, though more practice is definitely in order). Very excited to get my mitts on it properly and discover the layers and layers of complexity within.
I don't really think I can take responsibility for how beautiful it will end up looking (and I'm pretty certain it will be) but I'm still very glad to have been there.
It's scary to think that next year it'll be us doing out grads. Eep!
- Posted using BlogPress from my iPod touch
Friday, 6 May 2011
A child, a tarantula and a musical number walk into a bar...
I'm pretty sure that if you wanted to devise a script as a production challenge it would look a lot like My First Spellbook. Children, dangerous (and creepy) animals, a musical number, fire, special effects, multicam days and a huge amount of make-up.
This is the challenge I have helped to face as production assistant and then 2nd AD and it's been quite a task.
My main role in the run up to shooting was helping out with the art department, buying and sourcing the many props we needed. I also scurried about helping with auditions and on one day, cleaning a location.
Now that shooting is under way my role is more administrative, though there's still some scurry work - today I helped our cast find their way around the academy as we balanced music recordings and costume fittings. Mostly, though, I am just working on the coming days and the paperwork required.
This has led me to be rather confused about what day it is - my mind is constantly a few days ahead, thinking what will need to be done then and mixing me up about the present. Still, I think I've managed a fair approximation of mental balance.
And so, I sit at my desk (in the new and rather lovely production office) sending emails, making phonecalls and wrestling frustratedly with the bloody Windows OS. I really do hate it - I can barely work with it, if my laptop weren't so frail I'd bring it in and work from there.
Things I have learned:
I enjoy ADing a lot, but I'd rather be on set, it feels much more connected. As it is I only get told what's going on if there's a problem, I won't be there for the triumphs and the moments when it all comes together. No one calls the 2nd AD to say, "we just did a great shot! It worked perfectly!", it's always "the van was late and then the boiler exploded and three crew members have gone to hospital".
This is the challenge I have helped to face as production assistant and then 2nd AD and it's been quite a task.
My main role in the run up to shooting was helping out with the art department, buying and sourcing the many props we needed. I also scurried about helping with auditions and on one day, cleaning a location.
Now that shooting is under way my role is more administrative, though there's still some scurry work - today I helped our cast find their way around the academy as we balanced music recordings and costume fittings. Mostly, though, I am just working on the coming days and the paperwork required.
This has led me to be rather confused about what day it is - my mind is constantly a few days ahead, thinking what will need to be done then and mixing me up about the present. Still, I think I've managed a fair approximation of mental balance.
And so, I sit at my desk (in the new and rather lovely production office) sending emails, making phonecalls and wrestling frustratedly with the bloody Windows OS. I really do hate it - I can barely work with it, if my laptop weren't so frail I'd bring it in and work from there.
Things I have learned:
- how the entertainment license thing works
- when someone is cut, or their role reduced, it probably isn't anything personal - it's a decision you make in the production office for horrid practical reasons like the number of people you can fit in a car
- there is an occult shop in glasgow, but it shuts on the sabbath
- the best joke shop in glasgow - tam sheppards on Queen St.
- finding hallowe'en decorations in may - rather difficult
- house candles are no longer sold in normal places, it's all tea lights all the time! luckily there was a big morrisons next to one location and I popped in and bought them there
- call sheets are pains
- but they're also the perfect organisational tool
- Word is the devil's own word processor
- I'll say it again - how did people produce before the mobile phone? I don't think I've ever made/received as many calls as the last two weeks
- probably more but my brain is currently mush from poring over endless, fiendishly complex movement orders
I enjoy ADing a lot, but I'd rather be on set, it feels much more connected. As it is I only get told what's going on if there's a problem, I won't be there for the triumphs and the moments when it all comes together. No one calls the 2nd AD to say, "we just did a great shot! It worked perfectly!", it's always "the van was late and then the boiler exploded and three crew members have gone to hospital".
Thursday, 3 March 2011
Summative Statement
This year in studying cinema has really been about broadening our horizons, I think. Abbreviated though it was by Delhi, we've gone into many specialisms and spanned continents.
A large thrust of our teaching this year has been working towards our analytical essays, which meant in depth teaching about cinematography, editing, sound design and production and the analysis thereof. Unfortunately I was off for some of these classes but I caught up with the materials of Moodle and learned a lot by reading the reflective blogs of my classmates.
These subjects are all fertile areas of interest and I would have quite liked to do all of them (in particular I would have loved to analyse Romeo and Juliet's editing in the prologue, it's one of the most electrifying pieces of editing I know of) but I chose to do genre theory, probably the most academic of the possible areas of study. I analysed Inception, I film I loved and wouldn't object to watching many times over (I already had, as a matter of fact) and which I had already been considering in relation to genre, since I wanted to understand where it belonged.
Researching the essay was challenging in that I found very little on the web or in the libraries of the RSAMD or Glasgow University about genre theory particularly relating to heist movies. I had to build most of my analysis from comparison with other heist films and de-constructing their tropes and features. I feel I did well with my essay, I'm not even sick of the sight of Inception (which I'm glad of, it's a film I love and to ruin it with analysis would be sad, and only too possible).
In terms of history we covered the atypical, out of Hollywood movements in filmmaking.
Close to home, we learned about the British New Wave, far less famous than La Nouvelle Vague in France but in it's own way, just as influential. The Loneliness of the Long Distance Runner was interesting technically, with its sophisticated editing and poetic cinematography but it also stood up as an engaging and enjoyable story.
It allowed me to revisit some films, such as 400 Blows, which I had seen but not properly appreciated before. In the case of The Lives of Others, it let me enjoy a film again, having loved it the first time round. For me, it perfectly shows how a film can be exciting, meaningful and gut wrenchingly moving. The ending, in its beautiful simplicity, ("its for me") makes me cry buckets.
It's a pity we couldn't have gone on with the screenings - Kurosawa's films, while challenging, are very interesting and my enjoyment of them would probably be helped by another, more mature, viewing. Equally, Ingmar Bergman is a director I have meant to look at before but haven't gotten round to; I could describe the scene of death playing chess but I have never seen the seventh seal. I suppose this further education will just have to be on our own initiative.
Thursday, 24 February 2011
La Nouvelle Vague
I once heard a joke which played upon the resemblance of vague and vague but I can't remember how it went. I'd rather hoped Andy would make some variation of it during class but alas, no.
400 Blows
I saw 400 Blows a few years ago and I didn't enjoy it that much, to be honest. I couldn't lay a finger on exactly why but it didn't click with c. 15 year old Flick.
19 year old Flick enjoyed it much more. It's a very emotional story and there are just so many lovely touches. The poignant for me is when Antoine falls in love with the writings of Balzac and attempts to honour him by building a shrine, the whole thing going up in smoke.
The Lonliness of the Long Distance Runner
I really loved this, it was engrossing and a real window onto a world that has passed. I felt with the characters, and the little touches of humour helped to bring the story along.
I didn't find the ending as glorious as Andy did. This is just because of who I am etc etc - if I were to seek revenge on the institution I certainly wouldn't do it by spoiling my chances of personal success and increasing the likelihood of a long sentence. If I were in a borstal and any good at running I'd win that race for myself because I don't feel that I belong to or represent anyone else. The editing that showed his thought processes was very good though.
400 Blows
I saw 400 Blows a few years ago and I didn't enjoy it that much, to be honest. I couldn't lay a finger on exactly why but it didn't click with c. 15 year old Flick.
19 year old Flick enjoyed it much more. It's a very emotional story and there are just so many lovely touches. The poignant for me is when Antoine falls in love with the writings of Balzac and attempts to honour him by building a shrine, the whole thing going up in smoke.
The Lonliness of the Long Distance Runner
I really loved this, it was engrossing and a real window onto a world that has passed. I felt with the characters, and the little touches of humour helped to bring the story along.
I didn't find the ending as glorious as Andy did. This is just because of who I am etc etc - if I were to seek revenge on the institution I certainly wouldn't do it by spoiling my chances of personal success and increasing the likelihood of a long sentence. If I were in a borstal and any good at running I'd win that race for myself because I don't feel that I belong to or represent anyone else. The editing that showed his thought processes was very good though.
Tuesday, 22 February 2011
Filming log: Senses of Place
50% of editing is pure creation: the sculpting of raw footage into a story, finding the hidden shape within the block of marble. The other 50% is converting file types into other, slightly different file types. Then there's the underwater iceberg of rendering time (which explains why I blogged so much last week).
My latest editing project was something a little bit unusual, an architectural film about urban development in Dumfries. It came about through my sister and we worked together, each providing our different skills.
I'm still getting to grips with this new-fangled and rather different editing work-flow from the 550 and then add on top of that the most effects heavy, filter heavy and image rich project I've ever cut and my poor mac was quite dizzy. Rendering is so tedious, and sometimes I would have to wait ten minutes just to preview some titles I'd done.
Because of the look we wanted for one part of the image, it had to be filtered as monochrome, contrast adjusted (very slightly, just enough to give it a somewhat hyper real feeling) and something to reduce the shake. Composited with that was an image which was inverted and enough motion mapping and fades to make you cry. Madness.
Now, this probably sounds like some Frankensteinien mess, using everything in the bag except a star wipe. It's really not though, it's very crisp and elegant. Very architectural. And I'm still not over how pretty the 550's image is, guh. The music is also perfect, 150bpm to give a walking pace feel and very delicate. I'm very proud of it, especially since it's going to get a proper audience: it's going to be shown in the Lighthouse this Friday as part of an exhibition for urban redevelopment (I'm less clear on the architectural language actually, I just make films).
My latest editing project was something a little bit unusual, an architectural film about urban development in Dumfries. It came about through my sister and we worked together, each providing our different skills.
I'm still getting to grips with this new-fangled and rather different editing work-flow from the 550 and then add on top of that the most effects heavy, filter heavy and image rich project I've ever cut and my poor mac was quite dizzy. Rendering is so tedious, and sometimes I would have to wait ten minutes just to preview some titles I'd done.
Because of the look we wanted for one part of the image, it had to be filtered as monochrome, contrast adjusted (very slightly, just enough to give it a somewhat hyper real feeling) and something to reduce the shake. Composited with that was an image which was inverted and enough motion mapping and fades to make you cry. Madness.
Now, this probably sounds like some Frankensteinien mess, using everything in the bag except a star wipe. It's really not though, it's very crisp and elegant. Very architectural. And I'm still not over how pretty the 550's image is, guh. The music is also perfect, 150bpm to give a walking pace feel and very delicate. I'm very proud of it, especially since it's going to get a proper audience: it's going to be shown in the Lighthouse this Friday as part of an exhibition for urban redevelopment (I'm less clear on the architectural language actually, I just make films).
Wednesday, 16 February 2011
Filming log: The Beach House, aka: PMB walks into a beach house and asks for a pope's robe
Our time with Peter Mackie Burns (aka PMB) was very different to our work with Zam. Zam was very inspirational and abstract (though I think the fundamentals are on their way soon) whereas PMB was very much about the nitty gritty. I missed out on the first few lessons freezing to death on River City but I was there in time to rehearse and shoot the scenes.
Since I had two crew roles, I'll split this into two parts:
First AD, in which I deal with Mr. Tippy-Tappy
My shot at 1st ADing was complicated by several things: the weather meant we had to decamp and rearrange everything and once we were inside we had to contend with filming in a public area. The main problem this posed was when a guest of the hostel decided to surf the web for twenty minutes, spoiling our sound and necessitating a break.
It wasn't a terribly accurate test of my 1st AD potential since we had four hours to shoot a one page scene and it would have taken an act of God to make us go over.
Unfortunately I was struck ill for my second shoot and couldn't make it in.
Directing, in which I test the water
Directing for theatre is something I've always enjoyed, and a role which I fell into naturally; directing for film is a very different process, and I don't think I wholly grasped that before this exercise.
The main difference was that your blocking has to alter for each size of shot. To look natural and well framed, I had to manipulate the distance between my actors unnaturally; instead of finding the right performance I had to find a group of slightly different but not too different good performances.
In the end my scene cut together nicely and it made sense (after the under-covered Home project of last year that was one of the main things I wanted to rectify).
The area it lacked in was really performance. It's certainly not cringe inducing, but it doesn't feel real, the characters aren't actualised. It's a pity, the performances from the rehearsal are ten times better. It's a combination of the actors being inexperienced and me being inexperienced. I could have done more, as PMB put it directed more but there you go, you do you learn. I'm pleased with this as a training exercise.
Bless em, I can't have been the easiest director for Murray and Sam to contend with - I needed a pope's robe we could stain, and then I requested "a girl in a gold bikini". They delivered though, and Murray even got us cream cakes, it was fantastic.
Since I had two crew roles, I'll split this into two parts:
First AD, in which I deal with Mr. Tippy-Tappy
My shot at 1st ADing was complicated by several things: the weather meant we had to decamp and rearrange everything and once we were inside we had to contend with filming in a public area. The main problem this posed was when a guest of the hostel decided to surf the web for twenty minutes, spoiling our sound and necessitating a break.
It wasn't a terribly accurate test of my 1st AD potential since we had four hours to shoot a one page scene and it would have taken an act of God to make us go over.
Unfortunately I was struck ill for my second shoot and couldn't make it in.
Directing, in which I test the water
Directing for theatre is something I've always enjoyed, and a role which I fell into naturally; directing for film is a very different process, and I don't think I wholly grasped that before this exercise.
The main difference was that your blocking has to alter for each size of shot. To look natural and well framed, I had to manipulate the distance between my actors unnaturally; instead of finding the right performance I had to find a group of slightly different but not too different good performances.
In the end my scene cut together nicely and it made sense (after the under-covered Home project of last year that was one of the main things I wanted to rectify).
The area it lacked in was really performance. It's certainly not cringe inducing, but it doesn't feel real, the characters aren't actualised. It's a pity, the performances from the rehearsal are ten times better. It's a combination of the actors being inexperienced and me being inexperienced. I could have done more, as PMB put it directed more but there you go, you do you learn. I'm pleased with this as a training exercise.
Bless em, I can't have been the easiest director for Murray and Sam to contend with - I needed a pope's robe we could stain, and then I requested "a girl in a gold bikini". They delivered though, and Murray even got us cream cakes, it was fantastic.
Urban Endings: the brief
Just a quick reaction the Urban Endings brief:
I like the idea a lot and while it'll be absolute craziness making thirteen films while also assisting with the grad films it's the kind of craziness I love. We'll be busy and creative and it'll be fantastic. (Ask me how I feel during and I might just make a despairing face.)
My initial idea was developed in the microscopic spaces of time in between lipdub, writing for Richard, the essay for Andy and my own personal out of school project. Phew. However, I think what I've come up with is pretty good and could work well within the brief; I'll see what other people think.
I like the idea a lot and while it'll be absolute craziness making thirteen films while also assisting with the grad films it's the kind of craziness I love. We'll be busy and creative and it'll be fantastic. (Ask me how I feel during and I might just make a despairing face.)
My initial idea was developed in the microscopic spaces of time in between lipdub, writing for Richard, the essay for Andy and my own personal out of school project. Phew. However, I think what I've come up with is pretty good and could work well within the brief; I'll see what other people think.
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