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06 January 2024 | FMTV702 Creative Practice: Foundations | Critical Reflection | 3986 words
Two Women, One Lobster is a short drama set in 1930s rural England, unfolding within the confines of a grand country house kitchen. The story explores the tense and layered relationship between Beatrice, the poised and enigmatic lady of the house, and Alice, her young, timid housemaid. When Beatrice discovers a handwritten love letter in her husband’s handwriting hidden among Alice’s belongings, a subtle yet powerful confrontation ensues. Through charged dialogue and unspoken tension, the film delves into themes of power dynamics, betrayal, and suppressed emotions. The idea for Two Women, One Lobster came from a visit to Penlee Gallery, where I encountered Harold Harvey’s painting ‘My Kitchen’ (fig. 1). The depiction of two women in a domestic setting, with their striking body language and the painting’s quiet yet intense atmosphere, immediately captured my imagination. I began to wonder about the story behind their interaction, which sparked the concept for the film. This visual and thematic inspiration shaped the story, focusing on the interplay of status, trust, and hidden truths, reflected in the restrained setting and nuanced character interactions.
I wanted to use this project to focus on my directing skills. While I have previous experience in cinematography and editing, directing was something I’d only done on smaller, solo projects. This was a chance for me to take on a bigger role and challenge myself. With a background in acting, I was especially keen to develop my ability to direct performances and work closely with actors, alongside improving my general approach to film direction. Writing the script was a particular challenge for me, as this is also something I don’t have much experience in, but despite feeling out of my comfort zone, I was inspired by the painting to draft a story about a woman discovering her housemaid’s affair with her husband. We outlined our film concepts in a shared document and voted for the two most practical based on set, budget, and costume needs. With only ten weeks for pre-production, these factors were crucial. To my surprise, my film was chosen, making me one of the directors. I considered bringing in an experienced writer but decided to take on the challenge. Crew assembly was easier than expected, with people reaching out directly, allowing me to focus on the creative process early. This was my first project with a dedicated set designer and fully shot in a studio, unlike my previous on-location work with minimal set design. Right after the vote, the production designer immediately shared some proposed floor plans (fig 2.), which helped refine shot ideas and enhance storytelling and dialogue when it came to making adjustments to the script. These plans clarified space use, informing decisions on blocking, camera angles, and scene atmosphere.
Right from the beginning, I carefully considered the depth of this scene, focusing on how I wanted to portray the characters and shape the film’s overall visual style – fundamental elements for any director (ScreenSkills, 2022). To prepare for the role of Director, I conducted some research into the techniques and approaches of established filmmakers, particularly those known for their work with actors and performance direction. For example, I explored Alfred Hitchcock’s approach to blocking which strategically uses space to create tension and suspense, often positioning characters in confined or claustrophobic settings to amplify the viewer’s sense of unease. This is evident in Hitchcock’s 1954 film, Rear Window.
I worked closely with the Director of Photography (DoP) to develop the shot list, carefully considering what kind of visual style best complemented each line. Together, we discussed the intent behind every shot and discussed its feasibility to ensure the desired results could be achieved. With our set being fairly small, space was limited so we utilised this to the best we could by using a lot of close-ups and mid-shots to intensify the characters’ reactions. I also chose to use selective focus and depth of field as a storytelling tool. In one pivotal moment, I positioned a character in the foreground, keeping them sharply in focus while the secondary character in the background remained blurred. As the emotional dynamic shifts, the camera pulls focus to the background figure, revealing their reaction at a crucial narrative beat and back to the foreground again. This technique draws inspiration from Hitchcock’s ‘manipulation of perspective’, where revealing or hiding visual details builds suspense. By controlling what the audience sees and when, I tried to create the same unease that reflects the protagonist’s inner conflict and uncertainty. Building on this, I also explored how to work effectively with actors to bring depth to their performances. Rather than instructing an actor to simply portray an emotion like anger or sadness, I found it far more productive to explore the character’s desires, motivations, and the challenges they face. According to an interview cited in an article on directing actors, this approach is rooted in Stanislavskian theatre techniques, which many actors find highly effective. Instead of restricting their interpretation, this method encourages actors to discover subtle nuances in the scene that they might not have otherwise considered (Cantrell, 2018).
This project also allowed me to further develop my directing style. I feel as though I gravitate toward visual storytelling and prefer to deliver the plot more visually, rather than relying heavily on dialogue. I find that using actions, expressions, and composition to convey meaning can create a more immersive and emotionally engaging experience for the audience. During the scriptwriting process, I made deliberate choices to remove certain lines of dialogue and replace them with action to let the visuals speak for themselves. While some films are quite explicit in their meanings, others rely on visuals to convey implied messages, which can be a much more powerful storytelling tool (Brown 2002: 65–7). I believe this approach helps connect films with their audiences on a deeper, more emotional level.
Collaborating with other crew members was an incredibly valuable and informative experience. It gave me the opportunity to deepen my understanding of roles I hadn’t worked extensively with before, such as production design, costume design and sound. Observing how these departments operated and contributed to the final product helped me recognize the intricate layers involved in filmmaking. While I had briefly outlined a sound plan in my initial pitch, I hadn’t considered the kinds of specific sounds I wanted or where they should appear in the film. However, working closely with the sound team allowed me to refine these details, explore creative soundscapes, and experiment with ambient noises to reinforce the emotional tone of each scene. I gained a greater appreciation for how subtle audio cues (like sounds of the distant seagulls and wind) can build tension and immerse audiences more deeply into the setting. The sound designer worked hard to compile a collection of ambient sounds for the film well in advance of the shoot, which would later be useful in the edit. As for the production design, we held several discussions during pre-production to shape the film's overall style and aesthetic. I aimed to build a strong working relationship early on, so I researched the role of a production designer and their expectations of a director. From Directing Fiction, I learned that while a film reflects the director’s vision, the entire environment and its details aren’t solely their responsibility. The director provides the outline, collaborating with the production designer to refine the concept. During production, the designer remains on hand to address any evolving needs (Edgar-Hunt, 2009).
My only request to the art department was to make the set resemble the painting as closely as possible. However, we had additional space beyond the 'frame' of the painting, allowing us creative freedom to design as we liked, providing everything remained historically accurate to the time period. As mentioned, the production designer began drafting set plans early in the production process, starting with the key elements featured in the painting, such as the kitchen units, sink, washing line, and dining table with the lobster. Additional details, like shelves, a side table, and hanging pots and pans, were added to fill out the remaining space on the left side of the kitchen. Some very minor issues emerged when we needed specific elements for the characters to interact with. In one scene, we needed Alice to move away from the table, giving Beatrice time to search through the basket. Initially, I envisioned Beatrice asking Alice to get something from the other side of the kitchen – perhaps a jar from a shelf or a pot hanging on the wall. However, during the set construction induction, we realised drilling into the flats to put up shelves wasn’t practical, as the thickness of the flats wouldn’t support the weight of other decorations. I considered revising the script to change the action, but fortunately, the art department was able to source some free-standing shelves, allowing us to keep the original idea.
Our shoot week schedule was meticulously planned, thanks to our highly organised producer. This preparation ensured we encountered almost no issues during the shoot. The five-day shoot began with two days dedicated to set construction and dressing, allowing ample time to build and assemble all set elements. This process involved wallpapering the flats, painting the kitchen units to match the original painting, raising the flats, and laying flooring. Key set pieces, such as the sideboard, dining table, chairs, and hanging baskets, were also brought in. We allocated extra time for lighting setup and testing, refining it to achieve the desired visual effect. Wednesday evening was spent rehearsing with the actors, ahead of Thursday’s shoot. As soon as set construction began, I was analysing the space and thinking about the blocking. Much of the movement had already been written into the script, but this stage allowed for final adjustments. Before the actors arrived, I tested blocking ideas with stand-ins, helping to speed up the process. My prior focus on dialogue and movement helped eliminate any possible challenges during the shoot, helping the day go smoothly and staying on schedule without delays. Detailed planning, thorough set preparation, and rehearsals contributed to this efficiency. By Thursday, every element (set, lighting, and actor movements) had been refined, allowing us to focus on performance and capturing the best shots. The DoP and I reviewed the rushes at the end of the first day to ensure we had captured everything needed and adjusted the shooting schedule for the following day. Since we were ahead of schedule, we took the opportunity to capture additional unplanned shots, such as general cutaways. Identifying any issues at this stage was crucial, as it allowed time to reshoot or make corrections (Lyons 2012). We were looking primarily for any consistency problems or any missing coverage of the script.
We began editing the following week, assembling a rough cut to assess which shots worked best visually. The editor and I created two versions – one relying on mid and wide shots, and the other focusing on close-ups. During a critical screening, it became clear that the close-ups were the stronger artistic choice, as they highlighted the actors' subtle reactions and removed the empty space present in the wider shots. A few concerns were raised, including visible wallpaper edges, the artificial appearance of the lobster, and minor lighting inconsistencies. To address this, we applied subtle color grading to create a more 'dream-like' effect, hoping to draw attention away from the lobster and to also soften the lighting mistake at the end. We also plan to mask the wallpaper edges by applying blur masks to those areas. I let the editor handle the post-production stage of the film, but checked in regularly to track progress. As a director, I wanted to ensure the final cut aligned with my creative vision while allowing the editor the freedom to bring their own expertise to the process. Overall, the edit has gone well, and I’m so pleased with the final version. We only have a few small adjustments remaining before we send it to the gallery.
The creation of Two Women, One Lobster has been an invaluable learning experience, allowing me to develop my skills as a director while exploring new areas of filmmaking. From initial inspiration through to post-production, the project challenged me to expand my creative approach, collaborate with a talented crew, and refine my ability to lead both on and off set. Every stage of the process, from scriptwriting to working with actors and designing the visual language, has deepened my understanding of storytelling and the intricate craftsmanship behind each element of a film. I am proud of what we have achieved, and I believe the final piece captures the atmosphere and emotion I initially envisioned. This project not only represents a significant step forward in my directing career but also serves as a reminder of the power of collaboration and the importance of trusting the creative process.
Reference List
BLAIN BROWN. 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. 2009. Basics Film-Making 03: Directing Fiction. Bloomsbury Publishing.
LYONS, Suzanne. 2012. Indie Film Producing : The Craft of Low Budget Filmmaking. Boston: Focal Press.
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/development-film-and-tv-drama-job-profiles/director-film-and-tv-drama.
Author: Bethan Radford
Module: FMTV702 Creative Practice: Foundations
Assessment: Portfolio
Classification: Distinction / 70%
Degree: MA Film & Television
Submission: 06 January 2025
Words: 2140