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Props and Ideas

We have now managed to source our main item for the footage, a baby doll (Found in a charity store based in penryn).
Another was a book called ‘Stop The Insanity’ by Susan Powter, the book title was what appealed about the prop.
A notebook with a similar colour scale to whats in mind has also been added to be used as the ‘Baby Diary’.
Clothes are slowly being assessed as to what colour tones will be suitable and beneficial to the short films dynamics. DSCF4554 DSCF4555 DSCF4556
More to follow as these ideas are developed.

Stills and further inspiration (Lighting, Angles, Camera work)

Further content to consider when photographing and angles for production.
We aim to shoot our piece in black and white and are yet to decide what look would best.
Given the nature of our scenario –  dark, clinical and psychological and the atmosphere we wish to create,
we dont want to much of a heavy contrast and given the white space we hope to use lighting to our advantage.

Below are examples from DrStrangelove or: How I Learned to Stop Worrying and Love the Bomb, Clerks, Frank Miller, Psyco and Raging Bull.

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Development so far

Our short has a very dark and psychotic feel about it, making it more of a thriller than a drama, which it originally is, the piece is set to be filmed in the photography suite directly below the basement as it is a completely white room which we feel we can use to our advantage to create the genre we have assigned ourselves. By using a white room we can play with the ideas of simple stills photography and film to create a good short. We can take advantage of the shadows that will be created and use a lack of clutter in shots to show that the characters are of main importance as appose to the scene.

We plan to use a few props such as a child’s mobile, a bed and maybe a cot and a few chairs to show how simple there lives off and how this completely correlates to Amy’s mental problems. The final shot is going to be of Amy repeatedly dropping the baby and picking it up as well as repeating her last line at which point it becomes apparent to a possible audience that Amy and Tom are one person, it is both sides to Amy’s conscience in a way, Tom becomes the voice of reason in Amy’s head as appose to a tangible, physical character.

cushion

“Hans Peter Feldmann’s cushion on a pedestal, this photograph, art piece uses a beige cushion as the only colour, which still manages to stand out against the most neutral of grey and white backgrounds.”

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Taken from the institute of modern arts page, I feel that this picture shows so much emotion compared to how simplistic the picture is, we cannot even see a small percentage of the women’s face however we feel a lot through the picture.


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“Gordon Matta-Clark (June 22, 1943– August 27, 1978) was an American Artist best known for his site-specific artworks he made in the 1970s. He is famous for his “building cuts,” a series of works in abandoned buildings in which he variously removed sections of floors, ceilings, and walls.” I feel like this photo has incredibly good use of lighting and the colour white.

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The film ‘pyscho’ (Alfred Hitchcock) uses black and white in the similar eery manor we are looking at for our short. The way Hitchcock creates the mysterious crazy eyes and features of Norman Bates without any form of colour or interest is Boggling.

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White Washed Window in Paris – Cecil Touchon Photograph – 8 x 10 inches

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For the Stills photography of our short film, we could look at sillhouetting as well as maybe using this for the film aspect as well, as I feel it would work well with the eery simplistic style we are trying to create.

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Lucinda Devlins Omega series highlights the exact style I would like to take influence from when creating our short from citizenship.

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Uta Barth Also has a similar style and feels relevant to what we are trying to achieve in our short piece.

 

Location, Location, Location

Location,

Probably one of the most influential parts of our short film sequence. We had two initial ideas, which after time have slowly been more focused on the stronger of the two. Below are small screens of our ideas and why we feel they would work well with our script.

Picture1

White room, we felt that given the nature of the Schizophrenia, this space would act well as a neutral ground to have both characters appear in one place without concentrating to much on the realism of it. We have even discussed a monochrome effect with this to separate whats real and what is in our character Amy’s head. This idea is still be discussed, but is our favorite.

Picture2

The idea of using a doctors room, surgery set up would help us describe the mental and medical condition of Amy more suggestively than being metaphorical when using white space. The only issues we have had with this concept is finding a room or replicating something on such a low budget. Having said that the idea appeals still as its a good space to get a clinical feel.

The idea for the white room is definitely our stronger point of focus as we can use objects and signifiers to engage the audience and create subtle gestures within our production to help strengthen parts of the script or make shots more dynamic.

Storyboard – Second Phase

The second phase to our story boards was looking at locations to put our groups idea in too.
The original storyboards are scanned below and contain the original concepts and ideas.

With the idea and locations being introduced we were now ready to start planning how we would go about making this an effective final product. Actors, location, ways of shooting, our structure and getting across the dynamics of the Schizophrenia.

IMG_20130228_0004 IMG_20130228_0005 IMG_20130228_0006 IMG_20130228_0007 IMG_20130228_0008
These ideas are sure to change and develop over time, for now they are a great starting place.
We have now been looking into our roles more independently and approaching various ways of how we can each bring a more stronger level of production to our remediation project.

Storyboard – First Phase.

Our group came together and created storyboards paired up in twos,

This task was implemented before our previous slideshow and research into Mark Ravenhills work. The paids came up with different situations of which we would have the best idea chosen and then further developed. The pairs and themes are listed below,

Josh and Jessica – Schizophrenia.
Max and Alex – Broken Reality
James and Gwithyen – Surreal Humour.

After the storyboards were discussed and analysed the idea that gave most room for development was the Schizophrenic idea, which Josh and Jessica had produced. We then all looked at the storyboard and gave input so we could strengthen the story and make it more visual as a final short sequence.
 

Mark Ravenhill Oeuvre

Our group researched the works and productions of Mark Ravenhill, including personal bio’s and current projects.
Below is the information presented in our slideshow illustrating our understanding of his influences, work ethos and what drives him.

MARK RAVENHILL (1966-)

•Mark Ravenhill is an English actor, journalist and most notably, a playwright.
•Ravenhill has several renowned plays; including Shopping & Fucking (1996), Some Explicit Polaroid’s (1999) and Mother Clap’s Molly House (2001), and his work is recognised on an international level.
•Handbag won Evening Standard Promising Playwright Award in 1998.
•Ravenhill’s acting debut was of his own monologue, Product, at Edinburgh Fringe Festival in 2005.
•He was brought in as a part of the advisory team for the National Theatre following Nicholas Hytner’s took on the position of artistic director.

STYLE

•Mark Ravenhill’s style across the plays he has constructed over the last 20 years follow similar fields which reflect strongly over his life struggles.
•He’s noticed as one of three playwrights in a genre of ‘in-yer-face’ theatre, that emerged in Britain in the early 90’s. His style of direct, to the point dialogue is well-revered in this.
•Ravenhill’s style is direct and honest, taking events from his own life and expressing this on stage. A good example would be Ghost Story (2010), a satire of the positive thinking movement and a moving story of a woman’s battle of illness. It’s set in a time where time itself is fluid and people can talk to the dead. This reflects the turn of events from his struggle with HIV and the loss of his partner in the early 1990’s.

WORK

Fist (1995)

Shopping and Fucking (1996)

Faust Is Dead (1997)

Sleeping Around (1998)

Handbag (1998)

Some Explicit Polaroids (1999)

Mother Clap’s Molly House (2000)

Feed Me (Radio Play) (2000)

Totally Over You (2003)

Education (2004)

Citizenship (2005)

Product (2005)

The Cut (2006)

Pool (No Water) (2006)

Ravenhill For Breakfast (2007)

Scenes From Family Life (2007)

Shoot/Get Treasure/Repeat (2008)

Over There (2009)

The Experiment (2009)

Ten Plagues (2011)

FURTHER WORK INCLUDES

OPERA TRANSLATIONS

The Coronation of Poppea Monteverdi (2011)

 

WRITER

Black Cab (TV Series, 2000)

Al cuore (short, 2002)

National Theatre Live (TV series, 2010)

Playhouse: Live “Ghost Story” (TV Series, 2010)

Vicious (TV Series, 2013)
FUTURE WORK

Bette Bourne (a project for the Gay & Lesbian Film Festival)

Mark Ravenhill is now in his second year of residence at the RSC, Royal Shakespeare Company (BBC News).

Ravenhill did a remediation of Terry Pratchett’s  novel Nation, in 2010.

He also adapted and translated Bertolt Brecht’s play, A Life of Galileo, in 2013.

INFLUENCES

Bertolt Brecht (Brechtian theatre)

Caryl Churchill’s

Post-Modernism

William Shakespeare