I came in to the course without a clue what I wanted to do later in life, though I was thinking of doing something film related or science based, this course has given me a bit more of an indictation. As I really did enjoy writing the script and taking part in actually filming the short, the course itself did have a "industry day" wherein many speakers from the industry came in and spoke about hoe they got into the industry, some of whom got in by climbing the ranks, others by going to university or film school.
So, it quickly became apparent that there wasn't a sure-fire way of getting into the film industry, especially when you take into account many of the major directors had to finance their own debut features to launch their careers. I had always wanted to go to university, though I hadn't been quite sure what exactly I wanted to study, but I do remember one of the speakers (Tim Murray) had remarked on the "Industry day" "after leaving university I felt like a film critic, after leaving film school I felt like I was a filmmaker".
This gave it all a different spin, I had wanted to go to a film school, but the cost had detered me, that I didn't really want to specialise on just filmmaking as I am still not entirely sure what I want to do in the future. Though the course has shown me that I really enjoy filmmaking, it has also shown me how hard it is to get in to, and I would probably need something to fall back on so as to not have all my eggs in one basket.
Sunday, 16 February 2014
Review Of The Project
I think that (personally) the project went well, the film fits within all the constraints that were outlined earlier, it's two minutes twenty second long and the film itself is pretty good. It met all the criteria and after the premiere the audience seemed to like, although my little brother didn't understand it (he didn't understand any of them), but then again he doesn't really watch that many. Everyone I spoke to seemed to enjoy the film, so I quantify that as a success.
I enjoyed discussing ideas with the others in the group and the actual filming was pretty entertaining, as I got saddled with wearing the costume as another actor dropped out, so that was a bit unexpected but it was pretty good to experience what it was like act under direction of a crew. I also enjoyed working to deadlines for the group, writing the script, it forced me to actually write something instead of trying to write and dithering on what to put into it. Whereas actually writing for the deadlines made me have to be decisive and just write; though to be honest, when I had to write the script I spent six hours writer's block trying to figure out a way of getting a very visual outline into script form and last two pages whilst taking on board all the feedback, that for me was probably the least enjoyable and most challenging bit of the course: being stuck with writer's block and having to submit a script to the group. But, that was just a small part of the course, everything else was great and I enjoyed just about every minute of it.
The course helped me learn alot about the film industry and a lot about script writing, from turning your constraints into strengths and how to format your script correctly. The course also helped me actually use Facebook useful as a communicative device (as opposed to just a way of viewing memes) and has allowed me to easily share outlines and scripts with the group and get instant feedback, and in general the course has helped me work better with others and communicate much more clearly.
Looking back at my project plan, it all really went to plan, we did end up with a two minute twenty second long film that doesn't feature gratuitous violence or gore and everyone pulled their weight, it all really ran like clockwork, the only major challenge was an actor pulled out but we soon got round that (i.e. I had to fill in).
As a result of the project I now have an better understanding of filmmaking and the industry and how to get ahead in it (networking, lots and lots of networking); the product that was made (the short film) did hit all the criteria and everyone did seem happy with it, and in terms of learning new skills everyone in the group learnt alot about their specific allocated role and how to perform that role to the best of their ability.
The others seemed to enjoy the finished film and the course itself, which I can agree with as the course was really informative and a great experience that I am glad to have taken part. If I were to do it again I would probably try to write a better script or come up with a better idea, that would maximise the use of the surrounding area and the use of equipment (as with our film we didn't use any sound recording devices).
Below: Screenshots from a group review of the project, evaluating how we all managed to perform our roles.
![]()
I enjoyed discussing ideas with the others in the group and the actual filming was pretty entertaining, as I got saddled with wearing the costume as another actor dropped out, so that was a bit unexpected but it was pretty good to experience what it was like act under direction of a crew. I also enjoyed working to deadlines for the group, writing the script, it forced me to actually write something instead of trying to write and dithering on what to put into it. Whereas actually writing for the deadlines made me have to be decisive and just write; though to be honest, when I had to write the script I spent six hours writer's block trying to figure out a way of getting a very visual outline into script form and last two pages whilst taking on board all the feedback, that for me was probably the least enjoyable and most challenging bit of the course: being stuck with writer's block and having to submit a script to the group. But, that was just a small part of the course, everything else was great and I enjoyed just about every minute of it.
The course helped me learn alot about the film industry and a lot about script writing, from turning your constraints into strengths and how to format your script correctly. The course also helped me actually use Facebook useful as a communicative device (as opposed to just a way of viewing memes) and has allowed me to easily share outlines and scripts with the group and get instant feedback, and in general the course has helped me work better with others and communicate much more clearly.
Looking back at my project plan, it all really went to plan, we did end up with a two minute twenty second long film that doesn't feature gratuitous violence or gore and everyone pulled their weight, it all really ran like clockwork, the only major challenge was an actor pulled out but we soon got round that (i.e. I had to fill in).
As a result of the project I now have an better understanding of filmmaking and the industry and how to get ahead in it (networking, lots and lots of networking); the product that was made (the short film) did hit all the criteria and everyone did seem happy with it, and in terms of learning new skills everyone in the group learnt alot about their specific allocated role and how to perform that role to the best of their ability.
The others seemed to enjoy the finished film and the course itself, which I can agree with as the course was really informative and a great experience that I am glad to have taken part. If I were to do it again I would probably try to write a better script or come up with a better idea, that would maximise the use of the surrounding area and the use of equipment (as with our film we didn't use any sound recording devices).
Below: Screenshots from a group review of the project, evaluating how we all managed to perform our roles.
 |
Saturday, 15 February 2014
Link to interview about the project
This interview is about the course, filming and my role on the project.
http://www.interviews.kinematic.tv/KyleH.mp4
http://www.interviews.kinematic.tv/KyleH.mp4
Thursday, 13 February 2014
Revised Version Of The Script (Post-Feedback)
#5058
by
Kyle Holden
“#5058”
FADE IN:
INT. MENTAL INSTITUTE - DAY
The lone figure of #5058 stands
over the window in a cold, white room gazing into the distance, into the
unknown.
A FIGURE becomes visible through the window, across the
road, but there is no mistaking that it is looking directly at #5058.
#5058 puts his hand up, and starts to perform a slow,
unsure wave. The FIGURE responds with a
similar awkward wave, completely devoid of emotion, with all the grace of a
child mimicking an action.
INT. CINEMA – NIGHT
The seats are all empty bar one- the middle seat of the
front row, occupied by none other than #5058, who is now heavily engrossed in
the film.
Blissfully unaware of the FIGURE sitting in the back row,
watching #5058 intently.
#5058 leans forward curiously, still unaware of the FIGURE
at the back of the cinema, although now he has moved a row closer.
#5058 braces himself for what is to come; the FIGURE is a
row closer.
#5058 is becoming more and more engaged with the film
shown and is completely oblivious to the FIGURE appearing closer and closer to
him.
The FIGURE appears in the seat directly behind #5058, he
turns around the see nothing but an empty seat. He turns back to watch the film
only to find the FIGURE in the seat next to him.
The FIGURE turns to look at #5058, the light falls on his
face revealing an vacant space.
INT. MENTAL INSTITUTE – DAY
#5058 sits in the middle of the cold white room.
FADE OUT
CREDITS.
Original Draft Of The Script
#5058
by
Kyle Holden
“#5058”
FADE IN:
INT. MENTAL INSTITUTE - DAY
The lone figure of #5058 stands
over the window in a cold, white room gazing into the distance, into the
unknown.
#5058 (V.O)
I really
didn’t mean to do it, or that’s what I ended up telling myself, it’s just…you
can never be sure can you. Did your unconscious mind set out with it’s own
agenda, that try as you might to deviate from; you just end up right back in
the same position. Back to square one.
A FIGURE becomes visible through the window, across the
road, but there is no mistaking that it is looking directly at #5058.
#5058
(V.O) (CONT’D)
But it was
around the time of the accident that I started to see things, at first it I
wasn’t even sure it was even there; a trick of the light, a reflection, it
couldn’t have been anything out of the ordinary. But as time went on I began to
see things more clearly.
#5058 puts his hand up, and starts to perform a slow,
unsure wave. The FIGURE responds with a
similar awkward wave, completely devoid of emotion, with all the grace of a
child mimicking an action.
INT. CINEMA – NIGHT
The seats are all empty bar one- the middle seat of the
front row, occupied by none other than #5058, who is now heavily engrossed in
the film.
Blissfully unaware of the FIGURE sitting in the back row,
watching #5058 intently.
Film
Character #1 (O.S)
Hey, where did you come from?
Film
Character #2 (O.S)
I’m the…plumber.
(pause)
Carole sent me; I heard the pipes
were backed up.
Film
Character #1 (O.S)
Well, if you say so, though I
can’t really say I’ve had much trouble with it, but if Carole thinks there’s a
problem, then there must be a problem, typical Carole “ Oh let’s not
discuss this let’s just fritter money away and hope for the best”
(pause)
Right this way.
(The sound of a large bag of tools can be heard from the
screen)
#5058 leans forward curiously, still unaware of the FIGURE
at the back of the cinema, although now he has moved a row closer.
Film
Character #1 (O.S)
So, what’s wrong with it?
(Metal
tapping)
Film
Character #2 (O.S)
It looks to something to do with
the left phalanges, don’t worry though I can have it fixed in just a jiffy.
(Metal
rummaging)
Film
Character #1 (O.S)
Wow, that’s quick. So, did you
hear about what happened at the Peterson house a few nights ago? You never
think a thing like that will ever happen in your neighbourhood and then that
happens, you’d think people would be a bit more diligent as to who they let in;
some people are just so gullible…
(pauses)
What is that?
Film
Character #2 (S.O)
Carole.
#5058 braces himself for what is
to come; the FIGURE is a row closer.
(A loud wet thud is heard from the screen, followed by
excessive screaming)
With each thud #5058 flinches and swings his body around
his, each movement is becoming increasingly violent as the screams carry on,
but with each convulsion the FIGURE appears closer and closer.
The FIGURE appears in the seat directly behind #5058, he
turns around the see nothing but an empty seat. He turns back to watch the film
only to find the FIGURE in the seat next to him.
The FIGURE turns to look at #5058, the light falls on his
face revealing an vacant space.
Film
Character #1/FIGURE
WHAT HAVE YOU DONE TO MY FACE!
INT. OLD HOUSE – NIGHT
#5058 is looking down at the bloodied corpse of the FIGURE
(off screen), his eyes are bulging and is drenched in blood.
INT. MENTAL INSTITUTE – DAY
#5058 sits in the middle of the cold white room.
FADE OUT
CREDITS.
Tuesday, 4 February 2014
2 Arts Organisations
The Showroom
The Showroom is an independent art-house cinema in Sheffield that hosts events and various arts activities, including film festivals (like the prestigious "Doc Fest") and educational courses (like the "BFI Film Academy"). The Showroom hosts many festivals over the course of the year, these include: Celluloid Screams, Love Bytes, Off The Shelf, Sensoria, ShAFF, Showcomotion and Doc/Fest; Doc/Fest being the largest documentary festival in Europe and features 2600 delegates from over 60 countries. Celluloid Screams is a two day long festival in October that features both classic and contemporary horror films, along with special guests, last year's were Frank Henenlotter (director of 'Basket Case', 'Brain Damage' and 'Frankenhooker'), Lee Hardcastle (the creator of many horror themed stop-motion shorts) and Kier-La Janisse (the authour of 'House Of Psychotic Women'
The Showroom operates a mixed economic model, as the Workstation (under the same roof) houses creative businesses, this creates a profit that is used to run certain things on the cinema side, the cinema is also working to get more activity growing around film up in Sheffield as part of the "Film Forever" scheme run by the BFI, and are trying to create a buzz that will last past the end of the scheme (2017). The Showroom is soon to be entering interesting times with the introduction of another independent cinema in Sheffield.
The cinema opened in 1993 with two screens, though over the years a further two screens have been added along with a bar, cafe and a meeting room, the cinema is well-known for screening mainstream films along side art-house films and host a diverse programme, along with specific theme nights ('Cult Tuesdays'), film seasons, special screenings (such as the monthly 'Midnight Mauraders' screening) and events (like the monthly 'Showroom Shorts', which showcases short films).
The Showroom doesn't just show films, the Showroom houses many different facilities (as mentioned above) and caters for these by running different events with them, like the cafe, this holds food classes and event orientated dinners/meals.
http://www.showroomworkstation.org.uk/
Creative England
Creative England is a funding organisation that invests in and supports creative ideas, talent and businesses in film, TV, games and digital media. Their aim is help support talented idividuals and businesses so that they can reach their full creative and commercial potential; they also try to identify future oportunities to grow the economies and generate jobs, with offices across the country (in Salford, Birmingham, Bristol, Leeds, Nottingham, Pinewood and Elstree) they are a national organisation with many strong local and regional links.
They don't just invest money, they strive to create strong long-term relationships with their partners; they also provide practical support for film and television whilst organising networking events and providing mentoring and business advice. This all part of a "money plus" service they offer, that aims to combine local knowledge with national and international reach.
They do this to try to generate, profile and value within England's own successful creative industries, attempting to raise their ambitions further. They also do it to provide better access to mentoring, infrastructure, business planning, finance, markets, new ideas and wider networks to the rest of the company, as they see an inequality between the access to these services in London and the rest of the country, causing talent to be wasted and opportunities lost. They believe that the whole country should benefit from London's world status, meaning they go out of their way to provide these services to talented people across the country.
They offers many services for different projects, for example "iFeatures"-a low-budget feature scheme that tries to show a different side of England, it provides production funding fo feature films whilst working with lottery funding. They also have two talent centres in England (one in Brighton and one in Sheffield) that aim to work with emerging talent (i.e. yet to make a film with proper distribution), although they do not work with people in full time education, and they also offer short film funding and development funding.
In keeping with this need to show a different side of England, they also are the national agency for providing free support for filming England (outside of London), working in partnership with the British Film Commision to promote England internationally.
http://www.creativeengland.co.uk/
The Showroom is an independent art-house cinema in Sheffield that hosts events and various arts activities, including film festivals (like the prestigious "Doc Fest") and educational courses (like the "BFI Film Academy"). The Showroom hosts many festivals over the course of the year, these include: Celluloid Screams, Love Bytes, Off The Shelf, Sensoria, ShAFF, Showcomotion and Doc/Fest; Doc/Fest being the largest documentary festival in Europe and features 2600 delegates from over 60 countries. Celluloid Screams is a two day long festival in October that features both classic and contemporary horror films, along with special guests, last year's were Frank Henenlotter (director of 'Basket Case', 'Brain Damage' and 'Frankenhooker'), Lee Hardcastle (the creator of many horror themed stop-motion shorts) and Kier-La Janisse (the authour of 'House Of Psychotic Women'
The Showroom operates a mixed economic model, as the Workstation (under the same roof) houses creative businesses, this creates a profit that is used to run certain things on the cinema side, the cinema is also working to get more activity growing around film up in Sheffield as part of the "Film Forever" scheme run by the BFI, and are trying to create a buzz that will last past the end of the scheme (2017). The Showroom is soon to be entering interesting times with the introduction of another independent cinema in Sheffield.
The cinema opened in 1993 with two screens, though over the years a further two screens have been added along with a bar, cafe and a meeting room, the cinema is well-known for screening mainstream films along side art-house films and host a diverse programme, along with specific theme nights ('Cult Tuesdays'), film seasons, special screenings (such as the monthly 'Midnight Mauraders' screening) and events (like the monthly 'Showroom Shorts', which showcases short films).
The Showroom doesn't just show films, the Showroom houses many different facilities (as mentioned above) and caters for these by running different events with them, like the cafe, this holds food classes and event orientated dinners/meals.
Creative England
Creative England is a funding organisation that invests in and supports creative ideas, talent and businesses in film, TV, games and digital media. Their aim is help support talented idividuals and businesses so that they can reach their full creative and commercial potential; they also try to identify future oportunities to grow the economies and generate jobs, with offices across the country (in Salford, Birmingham, Bristol, Leeds, Nottingham, Pinewood and Elstree) they are a national organisation with many strong local and regional links.
They don't just invest money, they strive to create strong long-term relationships with their partners; they also provide practical support for film and television whilst organising networking events and providing mentoring and business advice. This all part of a "money plus" service they offer, that aims to combine local knowledge with national and international reach.
They do this to try to generate, profile and value within England's own successful creative industries, attempting to raise their ambitions further. They also do it to provide better access to mentoring, infrastructure, business planning, finance, markets, new ideas and wider networks to the rest of the company, as they see an inequality between the access to these services in London and the rest of the country, causing talent to be wasted and opportunities lost. They believe that the whole country should benefit from London's world status, meaning they go out of their way to provide these services to talented people across the country.
They offers many services for different projects, for example "iFeatures"-a low-budget feature scheme that tries to show a different side of England, it provides production funding fo feature films whilst working with lottery funding. They also have two talent centres in England (one in Brighton and one in Sheffield) that aim to work with emerging talent (i.e. yet to make a film with proper distribution), although they do not work with people in full time education, and they also offer short film funding and development funding.
In keeping with this need to show a different side of England, they also are the national agency for providing free support for filming England (outside of London), working in partnership with the British Film Commision to promote England internationally.
http://www.creativeengland.co.uk/
Sunday, 2 February 2014
Arts Challenge: Review
The challenge went mostly to plan, it did help that I have written scripts before and read a few screenplays to try and attempt to counter my inability to write any realistic dialogue, though it was only through doing this arts challenge, that I managed to focus it a lot better, than in previous attempts.
Although sifting through many different sites for advice did become quite tedious, as some sites overlapped, some were contradictory to others and some were predominantly giving techniques that were only applicable for novelist. So to over come this I had to alter the search parameters to bring up results that would help with the arts challenge, and then cherry pick from that collection of sites techniques that were relevant.
It was this that took the most time to get right, due to the amount of time it took to source the information, whereas with the other section I had already done the research on these two writers prior, and had read a great deal on both (and a few of their screenplays), this allowed the writing to flow fairly easier compared to the other.
I didn't really have to make any changes to the original plan, other than I looked at a few more techniques (originally I stated that I would look at 2, though I ended up looking at 5) this was because there wasn't much I could write about them, and the other techniques seemed really useful, and so the best course of action to me was to get all them all down.
So, overall I classify it as a success, in regards to researching new techniques, although if I were to do it again I would probably widen my scope and try to get examples of writers from different parts of the world and different industries, to compare, also I'd get more techniques down and try to find out how specific writers create realistic dialogue.
An example of this new found ability to focus my writing and the employment (or attempted employment) of the techniques can be seen below, it's from the opening of film that I'm currently working on.
It hasn't been formatted correctly and it still needs a lot of work doing to it (it is a vague outline so that I can see where it's all going, so that I can build on it later), but the dialogue for it just flowed easily (once I got into it). When I got down to writing it was easier to focus myself and just write and though the dialogue in this extract (due to the context- reanimating a corpse) can't be considered realistic, the rapport between the characters and the nervous energy of the 'Doctor' does seem well developed; it does need a bit of work doing to it but most of it does sound alright when read out-loud (although the 'Clark' character's dialogue does need a bit of work).
I also got another member of the group to review my challenge, her review is shown below:
![]()
Although sifting through many different sites for advice did become quite tedious, as some sites overlapped, some were contradictory to others and some were predominantly giving techniques that were only applicable for novelist. So to over come this I had to alter the search parameters to bring up results that would help with the arts challenge, and then cherry pick from that collection of sites techniques that were relevant.
It was this that took the most time to get right, due to the amount of time it took to source the information, whereas with the other section I had already done the research on these two writers prior, and had read a great deal on both (and a few of their screenplays), this allowed the writing to flow fairly easier compared to the other.
I didn't really have to make any changes to the original plan, other than I looked at a few more techniques (originally I stated that I would look at 2, though I ended up looking at 5) this was because there wasn't much I could write about them, and the other techniques seemed really useful, and so the best course of action to me was to get all them all down.
So, overall I classify it as a success, in regards to researching new techniques, although if I were to do it again I would probably widen my scope and try to get examples of writers from different parts of the world and different industries, to compare, also I'd get more techniques down and try to find out how specific writers create realistic dialogue.
An example of this new found ability to focus my writing and the employment (or attempted employment) of the techniques can be seen below, it's from the opening of film that I'm currently working on.
It hasn't been formatted correctly and it still needs a lot of work doing to it (it is a vague outline so that I can see where it's all going, so that I can build on it later), but the dialogue for it just flowed easily (once I got into it). When I got down to writing it was easier to focus myself and just write and though the dialogue in this extract (due to the context- reanimating a corpse) can't be considered realistic, the rapport between the characters and the nervous energy of the 'Doctor' does seem well developed; it does need a bit of work doing to it but most of it does sound alright when read out-loud (although the 'Clark' character's dialogue does need a bit of work).
I also got another member of the group to review my challenge, her review is shown below:
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