_edited.png)
30 April 2024 | TEL330 Showcase | Individual Response | 3986 words
For ‘showcase’, the final module of my degree, I chose to take on the role of Director as my main focus. Our film, Eden, is a short, ten minute drama. The original concept of the film was based on an idea I had been working on for a few years but have never had the chance to create. I was keen to immerse myself in the role of director, particularly in fictional drama; I wanted to delve into the realm of storytelling through directing, both within the technical and performance aspects. I had previously found that opportunities to get into directing had been somewhat limited throughout my degree, so when this module presented itself as a platform for me to finally take this role, I was thrilled. It was a chance to bring my vision to life, to collaborate with a team of talented individuals, and to showcase my skills and creativity as a director.
In terms of content, I wanted to create something that was both meaningful and metaphorical; the concept being a fine line between life and death and the idea that these worlds crossover, using a journey of friendship intertwined with loss served as the narrative. I wanted to explore the intricacy of human emotions, portraying a delicate balance between camaraderie and sorrow, shown within the interactions of three characters. As I had never been a director before, this finally gave me the chance to experiment with different aspects, using visuals and sounds to convey deeper meanings. From the eerie beauty of the location, to the subtle changes in lighting and colour, I looked at each element, thinking about how I would use this to evoke emotions and make viewers think.
The earlier writing stages of Eden made me recognise a limitation in my skills. I am not a skilled scriptwriter and I did not want to risk writing the script myself if it was not going to be effective. Therefore, I made the decision to seek collaboration with a writer who would be open to working with me on a script. Using the resources available to me, I reached out to my peers in search of a writer who would be willing
to bring my vision to life. I received a response fairly quickly, and I soon had a producer on board too. I sent the writer a rough story outline and let them take the lead on many aspects of the script.
In hindsight, I realised that I underestimated the importance of having a well-defined plan before engaging in collaborative work. The story outline I initially presented lacked depth and therefore did not communicate my complete vision. Consequently, upon receiving the drafts, I discovered several crucial aspects of my ideas were absent. This left me feeling disconnected from the project, as many of the personal elements I wanted to include were not in the drafts. I also found that the writer was not particularly receptive to critical feedback, so it was extremely difficult to implement these missing points once the script had been written. Despite these challenges, the opportunity to collaborate with a dedicated writer and producer provided invaluable insights into the dynamics of teamwork and creative synergy. Communication is one of the most important skills a Director should have, and through open dialogue and constructive feedback, I gained a deeper appreciation for the importance of effective communication and pre-production planning (Parker 2007: 7).
We conducted interviews for crew throughout November, following the TV ‘recruitment event’. We gauged interest by asking prospective crew members to indicate their preferred roles and provide contact information. We then invited people to their respective interviews. I had a substantial role in choosing who would be successful, selecting individuals based on their enthusiasm, work style, and on any previous film work they brought to the table. We also posted a casting call and had numerous actors audition. To save time, we began by asking for self-tapes, then invited anyone we thought to be suitable to a longer, in-person audition on campus.
As a director, I chose the actors based on how authentically they played characters, as well as their willingness to learn the script beforehand, and their overall professionalism during the auditions. It was essential to ensure that each actor not only fit the role but also contributed positively to the dynamic of the cast. Throughout the casting process, I remained mindful of the narrative arc and the emotional depth required from each character, working to assemble a talented cast that would bring the story to life in the most compelling way possible, even if the script did lack a little sophistication.
Over the pre-production process, I was actively engaged in production meetings, script meetings, location recces, table reads and test shoots. Production meetings served as forums for discussing details like project timelines, creative decisions, and allocating resources and responsibilities to the rest of the crew. During these meetings, I actively contributed ideas, addressed challenges, and negotiated solutions to ensure the execution of this film was as smooth as it could be. An example of this was when we realised we would not be able to use a drone on the shoot, as the operator did not have the appropriate qualifications required for this type of residential location. We came up with the idea of using a jib instead. While the jib was a lot more limited in movement, it still offered the type of aerial shots we needed and I was happy to change any shots we had planned in advance.
These meetings played a crucial role in our film preparation, especially when planning our time; establishing a series of deadlines gave us a solid framework. For example, we allocated specific time restraints to storyboarding and shot listing, then moving to test shoots, rehearsals, and finally to post-production. Additionally, we discussed our funding strategy, which entailed seeking contributions from the public. Our initial attempt at crowdfunding through Kickstarter was unsuccessful. Despite a
very promising start, momentum dwindled soon after. The strict policy of Kickstarter stated that if we did not meet our £1700 goal within the allocated time frame, we would not receive any funds, and all donations would be refunded. The production team made the decision to close this fundraiser, and open a new one on a different platform. Utilising Crowdfunder's feature of accepting funds regardless of goal attainment made it a much more favourable choice. Nevertheless, we had to reassess our budget since reaching £1700 seemed highly unlikely. Our second fundraiser had a £800 goal instead, with opportunities to raise extra funds through events like bake sales and pub quizzes. From a director’s point of view, these adjustments were essential for maintaining the momentum of our project. I had to balance my artistic vision with the practicalities of budget constraints, ensuring I could still deliver a high-quality film without compromising any creative integrity. Additionally, the experience taught us valuable lessons in resilience and adaptability, preparing us for the unpredictable nature of the film industry. Due to these budget cuts, certain props (like the garden signs) had to be written out. The reason our budget was initially set at a higher threshold, was to accommodate the transportation costs for one of our actors who was based in Birmingham. I had previously collaborated with this actor during the summer while she lived in Devon. However, she relocated to Birmingham thereafter, which caught us by surprise after we cast her. Reflecting on this, I should have discussed actors' locations more thoroughly before casting them.
The budget allocation also included catering, fuel expenses, location fees, and obtaining film props. Around this time, we were also scouting potential shooting locations, most of which were gardens and parks around Cornwall. Alongside the producer and 1st AD, we travelled to each potential location, inspecting them for
suitability. While the production team focused on more practical aspects such as travel expenses, feasibility of closure to the public and general availability of amenities (cooking and toilet facilities), I explored each location from a creative Director’s point of view, taking notes and identifying picturesque spots that would translate well on camera (Figure 1). I also considered factors like noise levels and the varying visual appeal of the locations at different times of day, taking into account potential implications for lighting setups (Edgar-Hunt 2010: 58). Many of these locations were privately owned, meaning that they would likely charge a fee for us to film there. Council-owned places were also an option, but we were trying to avoid this due to complications with their relationships with students. We settled on Trebah Garden, a huge sub-tropical garden with plenty of foliage, along with private coastal views. The staff were very friendly and seemed enthusiastic about our plans, however, we learned quickly that this was improbable, as they only allow students to film there one day at a time - our shoot was going to be between 5-7 days at least. After several meetings, the crew and I collectively concluded that shooting the entire film on campus was a great solution. The university campus has some awesome garden spaces, which not only offer visual appeal but also align perfectly with my initial vision for the film's aesthetics. This is how we cut out a huge portion of our location budget. This change in location had both advantages and disadvantages. I had already been planning shots, thinking about different scenes using the benches around Trebah Garden (benches were a key motif in the narrative); only now, with the change, I had to rethink some of the visual aspects and look at what kind of surroundings we had more locally. On the other hand, shooting on campus now meant that transporting equipment was now going to be much easier and less time
consuming. This also meant easier travel for the cast and crew, therefore also cutting down on transport expenses.
Despite the initial disappointment of having to adapt our plans, the walled garden on campus offered a unique charm and practicality. Working within these constraints forced me to think more creatively and find innovative solutions to fully capture the essence of the story. Specifically, I found the garden to be an excellent setting for the film, as it still had the benches, had beautiful surroundings, and ultimately, the high walls really enhanced the implicit meanings of the story. I could immediately see this location being a setting for film, perhaps even more so than our previous location. Moreover, the accessibility of the campus meant that we could easily conduct multiple shoots at different locations within walking distance, further streamlining our production schedule and maximising efficiency. In hindsight, the decision to shift our filming location from Trebah Garden to the Penryn Campus was instrumental in shaping the final outcome of the film. It forced me to think outside the box, adapt to unforeseen circumstances, and conclusively resulted in a smoother, more efficient shoot.
As for the actual process of directing the actors, this began with some simple table read meetings using the first few drafts of the script, which we ran online due to the actors' distance. Right from the beginning, I was thinking about the scenes in depth and how I wanted the characters portrayed and what I wanted the film to look like. This is essential for a director (ScreenSkills 2022). As we were still in the early draft stages of the script, there were many inconsistencies and gaps in character development that needed to be addressed. This gave us a chance to hear the script out loud, which was important for any following script discussions (Lyons 2012: 116). Some of the dialogue was irrelevant to the actual story and took up too much time in
our ten-minute time restraint, so I used these meetings to take notes and list any changes I felt needed to happen (Figure 2). I also encouraged the actors to voice any concerns they had, to help foster an open and collaborative environment where everyone felt comfortable contributing their ideas.
Working alongside the Director of Photography (DoP), I initiated the creation of storyboards and shot lists during the pre-production phase. Progress was hindered slightly by delays stemming from the writer's slowed development, leading to a lack of updated script drafts. Also, the earlier drafts featured themes of ableism, which we felt was inappropriate. Consequently, it was very difficult to come up with shot ideas without a finished script, as we needed a clear understanding of the scenes and their emotional beats to plan the shots effectively. Despite these setbacks, we decided we could use the available script drafts to at least outline general visual themes and key moments, allowing us to start conceptualising potential shots and camera movements. The DoP understood my vision for the film very quickly, with the help of moodboards I had curated earlier (Figure 3). Having a DoP that understands your ideas as a director is extremely helpful in making this process effective and efficient (MasterClass 2021). We discussed many creative aspects, such as framing, camera movement, and lighting setups to enhance the mood and atmosphere of each scene (Figure 4). I wanted the film to look visually pleasing; natural but also fostering some aspects I am personally interested in, such as symmetry and the use of a narrow depth of field. One technique I was particularly eager to use drew inspiration from a memorable moment seen in Orange is the New Black. In this scene, a pivotal plot development unfolds in complete silence, solely emphasising the characters' facial expressions and responses (Sandow 2018). I decided this would be great for the car accident scene, especially how we were not planning to use an actual vehicle and
the scene would be driven by lighting. I much prefer the idea of visual storytelling; this is why we had previously removed some lines of the dialogue and replaced it with action. While some films are very explicit in their meanings, others use visuals to convey an implied meaning that can be a powerful storytelling tool (Brown 2002: 65–7). I find this can help communicate films with their audiences on a deeper level.
Our next challenge arose when one of our actors unexpectedly withdrew from the project, leaving us with just two weeks to recast. After a second casting call, we had two actors audition for this role. We felt it would be useful to audition them with one of our existing actors to ensure these characters would have a believable friendship on-screen. This went very well and our new actor did an amazing job at capturing the essence of the character.
Discussing the script and the intentions of the writer involved understanding the character and their actions in the scene; the way these actions are portrayed is a collaboration between the actor and the director. Instead of instructing an actor to portray a specific emotion like anger or sadness, I found it's much more effective to discuss what characters’ wants, motives and any obstacles they face. In an interview referenced in an article on how to direct actors, it’s explained how these discussions draw from Stanislavskian theatre techniques, which actors often respond to quite well. It does not limit how the actor interprets the action, but guides them to find specific nuances in the scene they might not have considered otherwise (Cantrell, 2018). Additionally, I discovered that varying the emotional dynamics between Ana and Eden proved beneficial for the actors’ development. During table reads, I experimented with the actors and helped them use different approaches. For example, I gave them a scene that takes place after the protagonist’s accident; initially, the actors portrayed them with a sullen and heartfelt tone, which worked well
for this scene, but I also wanted to explore the possibility of maintaining a playful dynamic between these long-time friends. Considering their years of friendship, I was curious to see how injecting a hint of playfulness would alter the tone of the scene. In an article on film techniques, I read that working with actors to find out their potentials and capabilities is important and can even act as another tool in portraying the narrative (WII.Virtual Academy 2022). Further changes could be made to the film based on skills and characteristics you did not know the actors had.
Ahead of filming, we carried out several test shoots to fine-tune technical elements such as lighting, blocking, and set-up times. Since a portion of the film was set at night, achieving effective lighting was so important to me. Despite my limited knowledge of lighting techniques, I decided that creating streetlight-type lighting would be the most realistic option - either utilising any existing street lights in the locations as a foundation, or simulate lights that are not there. This was something I wanted to test on-location, to gauge how much light was already there, as well as helping to minimise set-up time on the actual shoot. However, almost every one of our night test shoots was called off due to rain, so we were only able to test lighting once and in a studio, which was still helpful but not as effective. We also scheduled some daytime test shoots to test lenses and camera positions, to help us further block each scene. For example, I wanted to see if the bench would look better either against the wall, or positioned further forward to gain a narrower depth of field. Not only did this matter for the camera, but also for the actors physically walking to their positions. Having the bench further forward made interactions between characters look a lot more natural.
Collectively, the team and I made the decision to shoot the film chronologically for continuity reasons. Especially as the entire film is set outdoors, we did not want two
scenes that canonically took place on the same day, to be shot on different days in case the weather was drastically different. I did not mind if the weather changed throughout the film, it just needed to happen in a way that was realistic. Additionally, the DoP and I decided it would be best if we recorded each scene beginning to end from multiple angles, even if we knew a particular angle may not be used. This was to maximise coverage and make editing smoother not only for the editor, but also for the sound process (Bowen 2018: 161–5). Our actors were extremely good at performing their scenes identically each time, which meant that audio captured from alternate takes could potentially be used in scenes where the original sound quality was not so great. For example, a few of our takes were interrupted by the sounds of planes, lawn mowers or children.
One of the biggest challenges I faced during filming was managing time and resources effectively. We had a very tight schedule on the first day, as we were trying to shoot all three night scenes in one go. These night scenes were also the scenes that required the most kit, making set-up times much longer. As we had not had the chance to accurately test lighting, we had to spend a significant allocation of our time on positioning the lights. Our night shoot also involved using a jib, which further increased the amount of time taken to set up. We had tested the jib beforehand and had even timed how long it took to build, but this time we had a slightly different piece of kit that involved a lot more tightening and balancing to ensure the camera would not move when the jib was lifted. While the camera team were disappointed and apologetic, safety and risk-prevention always comes first in my opinion and I commended them for doing the right thing, rather than choosing to still go ahead with the shot. The 1st AD and I made the quick decision to break the schedule slightly and move on to another shot that involved minimal crew so that the other crew could
work on the jib in the meantime. At the end of this first day, we collectively recognised that this night shoot should have been across two days instead of one but also, scheduling a reshoot night would not be difficult at all. All the setbacks we had that day could not have been prevented.
I feel the remainder of our shoot went very well. One of our shoot days had to be cancelled due to the weather, but we had planned for this and therefore it did not leave us behind schedule. Each scene was shot quickly and efficiently, leaving adequate amounts of time for setting up and packing down (including the two days we used for reshoots).
With the majority of the film wrapped, the focus shifted to post-production, where I encountered a few challenges with working alongside an editor. As someone accustomed to being the primary editor on most projects, stepping away from that role proved to be a valuable learning opportunity for me. The editor initially had issues with starting the edit due to other workload and commitments. We had previously discussed deadlines with the post-production team to ensure each stage of the edit was complete on time. When it became apparent the editor had not started, I did have to reiterate to them that we were running out of time and therefore, I offered to help assemble the edit if need be. To lessen the risk of compromising the film's quality under time pressure, the team and I collectively made the decision to defer colour grading and sound editing until after the submission deadline. This way, we could prioritise pacing and storytelling during the initial editing phase, allocating our resources and attention to refining the narrative without rushing through crucial stages of post-production. In retrospect, navigating the challenges of collaborating with an external editor underscored the importance of effective communication, flexibility, and strategic decision-making in the filmmaking process.
Once the editing process commenced, the editor's expertise and fresh perspective was invaluable in shaping the final product and ensuring its coherence.
My peers provided valuable insights into both my strengths and areas for improvement. Communication emerges as a central theme for improvement, both in meetings and during filming. I should have been updating the team more often with my progress on the creative aspects like shot lists and blocking. Strengthening my ability to communicate effectively, particularly in providing direction and feedback, would improve my leadership on set. Lack of confidence is another thing I struggle with, often leading to difficulties in how I express my needs and preferences. It was said that I can sometimes fail to show respect for other people's ideas and perspectives. However, feedback from other crew members states that I often encourage all group members to share viewpoints, and I show respect for all contributions by listening and engaging. My peers also highlighted numerous strengths: my creativity enhances problem-solving on set, my dedication ensures tasks are completed to a high standard, and my enthusiasm in pre-production underscores my commitment. I consistently exceed expectations with a strong work ethic, and my reliability in attending meetings and achieving deadlines reflects my dedication. Overall, my peers acknowledge my valuable contributions and dedication to enhancing the filmmaking process.
In conclusion, directing Eden was both challenging and rewarding, providing great insight into filmmaking. Overcoming hurdles in securing the role and collaborating with a writer underscored the importance of effective communication and pre-production planning. The casting process emphasised the significance of
selecting actors who not only fit their roles but also enhanced the narrative dynamic. Shifting the filming location posed unexpected challenges but ultimately streamlined production. Managing time and resources during filming required quick decision-making and adaptability. Collaboration with an editor in post-production enriched the final product, showcasing the value of leveraging team expertise. In conclusion, Eden epitomised a journey of growth, navigating script development, production intricacies, and creative problem-solving to bring my vision to life authentically.
References
BOWEN, Christopher J. 2018. Grammar of the Shot. New York, Ny: Routledge.
BROWN, Blain. 2002. Cinematography Theory and Practice ; Imagemaking for Cinematographers, Directors & Videographers. Amsterdam [U.A.] Focal Press 08.
CANTRELL, Tom. 2018. ‘Directing Actors in Continuing Drama’. Critical Studies in Television: The International Journal of Television Studies 13(3), 297–314.
EDGAR-HUNT, Robert. 2010. Directing Fiction. Lausanne: Ava Academia ; La Vergne, Tn.
LYONS, Suzanne. 2012. Indie Film Producing : The Craft of Low Budget Filmmaking. Boston: Focal Press.
MASTERCLASS. 2021. ‘Film 101: What Is the Director of Photography and Is Director of Photography the Same as Cinematographer?’ MasterClass [online]. Available at: https://www.masterclass.com/articles/film-101-what-is-the-director-of-photogra phy-and-is-director-of-photography-the-same-as-cinematographer [accessed 23 Apr 2024].
PARKER, Nathan. 2007. Short Films. Oldacastle Books.
SANDOW, Nick. 2018. Orange Is the New Black Season 6, Episode 13 [TV Show]. Netflix, 27 July 2018.
SCREENSKILLS. 2022. ‘Director (Also Known as Filmmaker) in the Film and TV Drama Industries’. ScreenSkills [online]. Available at: https://www.screenskills.com/job-profiles/browse/film-and-tv-drama/developm ent-film-and-tv-drama-job-profiles/director-film-and-tv-drama/ [accessed 23 Apr 2024].
WWI.VIRTUALACADEMY. 2022. ‘Filmmaking Techniques Every Director Must Know — a Beginner’s Guide to Understand Film Direction’. Medium [online]. Available at:https://medium.com/@virtualacademywwi/filmmaking-techniques-every-direct or-must-know-a-beginners-guide-to-understand-film-direction-af811d8621bc.
Author: Bethan Radford
Module: TEL330 Showcase
Assessment: Portfolio
Classification: 1st / 80%
Degree: BA (Hons) Television
Submission: 30th April 2024
Words: 3986