Tuesday, 11 December 2018

Evaluation

Well where do I begin? I suppose it should be at the very start of the unit when we were given the brief and my head was filled with all sorts of different ideas. I knew that i wanted to try something with fight scenes, as much action as the Risk Assessments would allow, and a really cool "badass" style of story. At first, I thought of incorporating narrative about a hitman or the shady side of the crime world in which "hits" are called. I wanted to have a real dark style of filming almost Film Noir, the black and white with the gravely voice narrating in a cynical sarcastic tone. I love that approach and definitely wanted to take aspects of it and use them in my piece.

My only problem was that hitmen have been done to death, from Agent 47 to Hitman's Bodyguard (yes I know it's a comedy and not in keeping with what I am going for genre-wise but i'm just using this as an example of how widely the whole hitman angle has been done). Another inspiration for the style I wanted to be in keeping with was DIRTY LAUNDRY by a youtube user BOOTLEG UNIVERSE. This was a short film spinoff of the 2004 film Punisher, in which the actual actor used in the film Thomas Jane was cast and his character (the Punisher) is living in his van. He gets out of his van and does his laundry at a launders when a young woman is assaulted and he intervenes after battling his attempts to try and just be a passer-by. It is full of cinematic shots, has a dark "dirty" colour grade (similar to Fight Club), and is full of violent fight scenes.

So hitmen where out of the equation what could I go to now?  Well the mafia are always a fascinating topic to me however it is hard to not slip into cliche when trying to portray the stereotypical gangster. So instead of a bunch of slick haired pin stripe suited Italians around a table playing poker with cigars and whiskey, I thought I could take a slightly modern approach. A young boy about 10 or 12 gets beaten up in an alley by the school bullies and as he's snivelling picking his things up off the floor a man in a lonhg coat appears at the end of the alley. He works for the Mafia, he's the guy you send when you want a job done. So he see's what happens to the boy and offers to teach him how to "knock punks down a couple notches". Through touch love and testing training the boy gains skills and goes back to his bullies and teaches them to leave him alone. But the man who took him isn't happy with that, he wants the boy to finish the job. He hands him a gun and tells him that if he does the right thing, the gun is his and he can work alongside him in the business. The boy holds the gun up to the beaten bullies on the floor trembling as he is battling his morals and inner thoughts. Cut to black and you hear a gunshot. Fade from black after a few seconds and the barrel is smoking, slow pull out shows the boy is pointing it in a different direction. Cut to the boys mentor, holding his upper abdomen with shock on his face, he slumps down and the boy now looks distraught. He turns the gun on himself, fade to black, and another gunshot is heard. I liked the idea of the kind of mix up of Karate Kid style mentorship with Leon The Professional type of theme.

I churned over this idea for a while and realised well it hasn't been done before per say and I feel like it would be idealistic for locations and cinematic shots, it does bare resemblance to a lot of films and has an overused common narrative of victim becomes the saviour. So it was back to the drawing board. This is when I got an inspiration from a tv show called Lucifer. The show is about the devil who decides he has had enough of running hell and takes a break on earth. He has the power to see into peoples souls and allow their deepest desires to spill out, a sort of "truth stare" if you like. It isn't long before he meets a young police detective who his powers don't work on, which intrigues him and leads him to accompany her on criminal investigations as an advisor. I liked the idea of an other-worldy being leaving thier dimension to take a vacation on earth, so i thought that it would be a cool idea to incorperate Norse gods into this.

The premise would be that this Norse god (most likely Thor) last visited hundreds and hundreds of years ago so when he decides to come back for another vacation A LOT has changed. Whilst trying to get accustomed to this strange new world he befriends someone and they are killed by a gang or crime syndicate. He is crushed by this loss as he is not used to losing people (because all his friends are gods and gods are immortal). He becomes enraged by this organisation's actions and hunts down every member in epic style until he reaches the boss, who tries to cut a deal with the god but is thrown into a container of liquid in his criminal hideout and electricuted by the gods powers. However as the camera fades to black on the god walking away into the unfocused background, it then fades from black to a shot of the liquid and the steam rising from it, then a hand emerges from it. I was almost certain I wanted to take up this idea however after a talk with George my other group member we decided it was far too much of a big budget production film and would struggle to make a quality short film on our budget and time restrictions. In the same discussion, myself and George came up with the idea of doing a documentary, as we both felt confident in our ability to make a  documentary and would like to explore it further.

George came up with the idea of looking at the topic of the legendary horse Shergar. This was a horse from very good bloodlines that won every race it was entered into. It was retired after only a hand full of races because it's breedability was worth more than it's success at sport. However it was kidnapped at the breeding stables by suspected IRA members and has never been found to this day. I liked the idea of this as a topic for our documentary because there is an ayre of mystery about it, a sense of intrigue becuase someone out there somewhere knows the final resting place of this Irish legend. Unfortunately, when we researched into it there had already been a documentary made recently about Shergar which covered pretty much everything we wanted to look at in our doc if we were to do it about him. So no more hitmen or Norse gods, but we did know that it was a documentary that we would be undertaking.

The next idea to hit us, well George was Dynamo. Dynamo has always struggled with bullying in school so he learned magic tricks to impress his peers and earn respect amongst his fellow classmates. George wanted to make a documentary about his life and the experiences he has had that have shaped the man he is today. I believe a heavy influence for this doc idea was the rapper Professor Green's new series of docs and the one about his father's suicide. We presented this idea to Simon but he raised the point that he is not a current celebrity, therefore, is not as relevant and that we should try to stay out of the way of falling into the trap of using celebrities as the main factor for a piece. So we swiftly moved onwards and upwards.

I briefly looked at a subject I had researched a year ago which was a group of people known as preppers. People who prepare themselves for the apocalypse or end of the world. However, there had been multiple documentaries made about these people and we struggled to find an angle for this topic. This is when we came up with the idea of Snowflakes. We had seen many many videos online showing confrontations between millenials and generation X which had prompted us to think about the generational differences in society and we began to look at topics of debate that were around at the time, one of which was the controversial topic of the Snowflake Generation. We devised a pitch and showed it to our tutor. He asked us what our angle was and we said what we thought our angle could be, however his comments highlighted that we need to have an answer as to “why does anyone care” about the topic. He felt that we were doing the topic of Generation Snowflake because we were the generation that were being accused of not being tough enough as it were. Therefore the documentary would be one-sided immediately because we were making it to try and prove a point that we were not a bunch of gentle little snowflakes. Which would brake one of the many rules of a documentary which is you cannot make a documentary with an agenda or already having a strong opinion on the topic.

Following this we decided to stop trying to just come up with ideas, drawing from either just our minds or own experiences. So we sat down and started looking through new news stories to see what was going on that was current and relevant right at that moment. That is when we came across the story of Liam Allan. Liam Allan was a young man who was accused of rape and almost convicted until his barrister found a disk that contained evidence on it that destroyed the prosecutions case. We looked into the topic of false rape allogations and while there seemed to quite a few cases reported, we could see there was practically no coverage of the subject unless it was to do with Liam's case. So we did a solid weeks worth of contacting people and gaining as much research as we could then took our idea to both our tutor and another voice of wisdom that had been brought in who used to work for the BBC. Both our tutor and the lady that was brought in liked how brave we were being by tackling this subject but they both said it was far too risky and could spark a backlash both on us and the course.

By this time it was getting quite close to the deadline, about 4 weeks away and our idea was still on the ropes, but we had done so much research and were really passionate about it so we decided that we would still use the contributors we had attained we would just adapt the topic. It would go from focusing on the theme of false rape allogations to the problems with evidence. Of course "Problems with evidence" was far too vague a too big of a subject to look at so we cut it down to digital evidence after running that past our tutor and gettimg the thumbs up we decided to roll with it.

This changed slightly however when we went up to take some test footage of an event that Liam was hosting in Manchester. We noticed that a far more accessible and relevant topic was disclosure of evidence. So we decided after filming we would get in touch with charity groups etc to find victims of  Evidence Disclosure problems. This was an absolute gold mine and we had an abundance of people really willing to help, to try and get their story out so people can hear what really goes on in the courtrooms of today. Obviously we had a few problems like no governmental institutions wanting to have any part of the doc due to us being students. I even phone HMP Maidstone to see if they would be able to pass me on to someone which they did but after emailing them they declined access. And this is where we are now, all prepped and ready to film our Doc for Evidence Withheld. 

everything you need to know about eddie

This was all the information i could gather online about Eddie Gilfoyle, this has been an imalgamation of news report court reports and eye witness statements




The Case of Eddie Gilfoyle


On 4th June 1992 Paula Gilfoyle, eight and a half months pregnant, was found hanging in the garage of her home in Upton, Wirral. Her husband Eddie was convicted of her murder but maintains that he is innocent. His family and supporters have gathered compelling evidence - never seen by the trial jury - that Paula was not killed, and that the investigating police conspired to pervert the course of justice. Despite this evidence Eddie’s appeal against conviction was rejected and Eddie remains in prison. Eddie Gilfoyle has suffered doubly - losing first his wife and unborn child and then his freedom.

Eddie and Paula Gilfoyle’s marriage had been under a strain for some time. Paula was living with her parents and they were effectively separated. Eddie had started another relationship with Sandra Davies, a work colleague, although he really wanted Paula back. When she refused to return to their home, Eddie told her that Sandra would be moving in. Paula was hurt. She informed Eddie that she was pregnant and moved back into their house to try and make a go of the marriage. Eddie was very happy to have her back and to have a child on the way. He ended the affair with Sandra.

Within a few months however, Paula dropped a bombshell on Eddie. She wrote him a letter saying that she had been having an affair for the last fourteen months with a man called ‘Nigel’ and that the child was not Eddies. (DNA tests revealed later that Eddie was in fact, the father of the child). This letter was dubbed by the court as the ‘Nigel letter’ and has been referred to as such ever since. She was planning - she wrote - to move abroad to live with ‘Nigel.’ Paula was showing classic signs of depression.

At the time, Eddie had no reason to doubt that what Paula had written in the ‘Nigel letter’ was true.

In a distraught state, Eddie showed the letter to Sandra. Sandra showed it to her friend. Eddie also showed it to his boss and he was so distressed that she sent him home as he was unfit to work.

When Paula found out that he had shown the letter to others she was furious that the news of what she had written might spread. What would her friends or family think if they heard through the grapevine that she had admitted to Eddie that she had an affair and had alleged that Eddie was not the father of her baby. Also how could Paula explain to her family that she was intending to move abroad and live with ‘Nigel’ and that she had no intention of telling them until after she had gone.

Two of her friends claim that shortly after Paula gave Eddie the ‘Nigel letter,’ and while they were in the works canteen, Paula told them that Eddie was doing a course about suicide at work and that for his homework he had asked her to write letters which he dictated. Paula said that he told her to write about the affair, the baby not being his and that she couldn’t live with the guilt any longer. She also, allegedly, told the same story to another friend. But this time went one stage further saying that Eddie had taken her into the garage and shown her a noose tied to a beam and that she was terrified.

Eddie spent the next few weeks expecting his wife to leave. Although Eddie did not know it at the time, ‘Nigel’ had ended the affair. Eddie and Paula left notes for each other which confirm the


contents of the ‘Nigel letter.’ But Paula did not leave. On 2nd June, two days before she died, Paula dropped another bombshell. ‘Nigel’ was really Peter Glover, her brother-in-law. She thought he was the father of her baby. Paula was very distressed and not knowing what to do, Eddie tried to console her - making plans for them to move away and make a fresh start - he could not lift her out of the depression.

On the 4th June Eddie left for work around 11.20am, arriving there at 11.30am. Paula left the house at the same time to go to the Post Office. He came home from work early to take Paula shopping but she was not there. Eddie found a suicide note in the kitchen. But mistaking it for a letter saying that she was finally leaving him, he read only the first few lines before driving to his parents house to seek advice. He was distraught. He returned home with his parents at 6pm to begin phoning around to try and find Paula, while his brother-in-law, (a police sergeant), who they summoned to the scene to offer advice, searched the house. He found Paula’s body hanging from a beam in the garage.

THE POLICE INVESTIGATION

A police constable and a Coroner’s officer were called to the scene. They did not take any photographs or measurements or carry out any forensic tests, simply cutting down the body and laying it on the floor. Without taking any details of how the rope was tied around the beam, they removed it to keep it for the Coroner. A post mortem found nothing suspicious - no drugs, alcohol, marks of violence or restraint. The portion of the rope that was still tied around Paula’s neck was removed by the morticians assistant. He is still certain that it was not a slipping knot, but had two knots tied one on top of the other. The distinction later came to be of vital importance in what followed, but the assistant’s assertion could not be proved as he was told that the rope was not needed and it was destroyed.

SUSPICIONS

Over the weekend following Paula’s death family and friends met at ‘Peter Glover’s house’ and a meeting took place to ‘help clear Paula’s name.’ Glover had already gone to extraordinary lengths to obtain a copy of the suicide letter, including attending at the Coroners Office demanding a copy. His demands were turned down.

They then began to approach the police with concerns about her death. She was - as far as they knew - happy and looking forward to the birth of her baby. They could not accept that she had committed suicide. An atmosphere of hysteria was growing in which the police were told stories about Paula saying that Eddie had cut the brake pipes on her car three times. This was completely untrue, but soon the story about Eddie’s so-called ‘suicide course’ and the letters he had supposedly dictated to her, emerged. Her friends and family could not believe that she was having an affair or that the contents of the letters were true.

Her work friends recounted to the police the story that Paula had allegedly told them - about Eddie asking her to write a letter for homework. What they recounted to the police was the contents of the ‘Nigel letter.’ They were already aware of the content of the ‘Nigel letter’ as immediately after Paula died sections of the letter became common knowledge to both sides of Paula’s family. This letter had nothing to do with suicide. They were unable to recount the contents of any suicide letter because this was in the hands of the Coroner. The statements made by her friends were not presented at the trial and there is a very good reason for this. This type of evidence is inadmissible because it is hearsay. The truth of it cannot be tested or proven. Without testimony from Paula herself the allegation that Eddie was pretending to be on a suicide course only amounted to gossip and rumour.

Eddie was arrested and the police investigation began. In a search of his house a notepad bearing impressions of a removed page was found. ESDA tests revealed that it was another suicide note (other than the note found at the scene on the day of her death) which said that the father of the baby had ended their 16 month relationship and that Paula could not live without him. A third, unfinished suicide letter was found in a footstool.

The Crown’s case is that although all the letters are written in Paula’s own handwriting, the contents are fictitious. They said Eddie had dictated them to Paula and told her what to write, claiming that he needed her help to do them for homework for his ‘suicide course.’ (No such course was ever run in the hospital where Eddie worked and no evidence was found which would substantiate that Eddie was pretending to his wife to be on any course).

The police had to assert that the contents of the ‘Nigel letter’ was also dictated by Eddie. This was because if the contents of this letter could be proven to be true, it would mean that the other suicide letters were also genuine.

MARKET RESEARCHER

In his first police interview Eddie told the police that a woman had called to the house about 11am and that he and Paula had filled in a survey about wines. He also told the police that Paula was intending to go the shops, the Post Office and Ante - Natal Clinic. Within a few weeks the police traced Maureen Brannon, the market researcher, who confirmed she had called to Eddies house that morning between 11am and 11.20am and conducted a market research survey with Eddie and Paula. Eddie told the police that just after Brannon left, he left for work and Paula left for the Post Office. Eddie had an 8 minute drive to his place of work and he was seen in work at 11.30am by two people. At the trial, the Judge concluded that because Paula failed to make her afternoon appointment at the Ante-Natal Clinic and taking account of the other corroborative evidence, Paula must have been dead before 2pm. Eddie was left with no opportunity in that day to murder his wife. But the Judge in his summing up cast a doubt on the timings given by Brannon.

Brannon however, is still certain of her timings and this was later corroborated by the Lancashire Police who conducted a full re-investigation into the case after the trial.

MAUREEN PIPER

Several weeks after Paula’s death, Maureen Piper mentioned to Paula’s sister, Susan Dubost, that she had been speaking to Paula in the Post Office at 12.40pm on the day she died. Dubost told her to make a statement to the police and she arranged for Piper to telephone the police from Paula’s mothers house. The statement was taken the same day by Detective Constable Gregson. Because Eddie was at work at 11.30am and well alibied, the police were desperate. Maureen Piper’s statement threw a spanner in the works. If the case against Eddie was to be sustained action had to be taken. DC Gregson acted swiftly. On the same day that he had taken Piper’s statement, DC Gregson returned to Eddie’s house. The following is an extract from a Lancashire Police Report arising from a re-investigation of the case supervised by the Police Complaints Authority. (PCA):

"The forensic scientist, Phillip RYDEARD, states that when he was in attendance at the scene on 23rd June he discussed with officers present the possibility of finding other significant items such as other ropes. Later that day DC GREGSON found the ‘practice’ rope in the drawer…"

In the drawer of a cabinet in the garage DC Gregson ‘discovered’ a piece of rope tied into a slipping noose. This was, the police contended, a rope used by Eddie to practice tying the noose with which he murdered his wife. But would Eddie leave such a damming piece of evidence for the police to find ? The Lancashire Report continues:

"The officer who conducted the search of the garage on the 8th June, PC CARTWRIGHT, is adamant that the rope was not there at the time. He recalls looking in the drawer in which the rope was subsequently found and it was not there."

DC Gregson visited Maureen Piper at home two days later to tell her she was mistaken about her meeting with Paula. It was in fact - DC Gregson told her - Susan Dubost that she had seen in the Post Office. Piper knew both women very well. She lived within a few doors of Paula’s parents and across the road from Susan Dubost. She argued with DC Gregson, maintaining that she was not mistaken. DC Gregson told her "We are scrubbing your statement." Later that same day Susan Dubost made a statement that it was herselfwho was in the Post Office at 12.40pm on 4th June.

BLATANT DECEIT

In September a meeting took place between the Crown Prosecution Service (CPS), the prosecuting barrister, and Detective Chief Inspector Baines. DC Gregson was also present. The CPS were told that Piper had confused the two women. DC Gregson failed to inform the CPS that Piper was still adamant that she had sighted Paula in the Post Office on the 4th June. Gregson, as the junior officer at the conference, did not think it was his place to inform the prosecuting lawyers that Piper was vigorously asserting that she had seen Paula on the day of her death and at a time when Eddie was well accounted for in work. Susan Dubost’s statement was recorded as being taken by DC Phillips. It later transpired that DC Phillips told the Lancashire Police, who re-investigated the case, that he was on holiday at the time and had never spoken to Susan Dubost about this matter. Yet it is his name that appears on the bottom of the statement.

The CPS never checked the Piper evidence, or questioned the finding of the ‘practice rope’ or investigated the startling contradictions in the police’s own records. From the September to the following June, when the trial started, the police knew that Piper was still adamant in her sighting. The police did nothing to inform the CPS of this ‘mistake.’Pipers evidence was placed in the ‘unused material’ files. Eddies former defence took no steps to confirm Piper’s sighting and relied on the police version that Piper had confused Paula with Dubost. The trial jury knew nothing of Piper’s evidence. Piper’s statement was raised at the Appeal hearing. The court ruled that her memory was faulty, not in identifying the wrong sister, but in the timing of her meeting with Paula. She had seen Paula, but on a different week! No evidence was offered to substantiate this and Piper remains convinced that she was not mistaken. The Lancashire Police discovered that Piper was in company with her friend when she saw Paula. She remembered Piper talking to a pregnant woman in the queue. The Lancashire Police also discovered that Piper learnt of Paula’s death on the 5th of June from another friend. She said to her friend, "I was only talking to her yesterday in the Post Office." The Appeal Court when turning down Eddie’s appeal refused to listen.

COMPUTER COURSE

Paula wrote in the ‘Nigel letter’ that she had secretly been meeting with Nigel when she was supposed to be on a computer course which was run from her place of work. Paula wrote that she had only ever attended the course on two occasions. The police asked her friends if she had been on such a course at the place where they all worked. They all said that she had not and if she had have been, they would definitely have known. The Merseyside Police accepted this without any further investigation.

Eddie’s family subsequently found a letter from Paula’s employers asking why she had not been attending the course she had enrolled on. Paula it seems, had been keeping secrets from her friends. If Paula wasn’t attending her course, where was she going ? Realising the importance of this discovery, Eddie’s family took the letter to the police. They never saw it again. It was never produced as evidence at the trial. The police said that it had been lost. When the Lancashire Police conducted a re-investigation into the case they discovered that Paula had enrolled on a computer course at work. In April, when she wrote the ‘Nigel letter’ she had been on the course for fourteen months, in June she would have been on the course for sixteen months and the records show that she only attended the course twice - THIS IS EXACTLY WHAT SHE WROTE IN HER LETTERS. The ‘Nigel letter’ is not a suicide letter. It does not mention suicide. The content talks about real events. The ‘Nigel letter’ discusses Eddies relationship with Sandra Davies. So how does this fit the Crowns theory that Eddie tricked Paula to write this letter for a pretend suicide course ? From all of this evidence the Authorities are well aware that these letters are genuine and true. They know that these letters have not been made up for any homework or any fictitious course.

PROFESSOR BERNARD KNIGHT

Eddie’s defence commissioned an analysis of the case from Professor Bernard Knight, a world famous pathologist. (He is particularly famous for his grim detective work in the cellars and burial pits of Cromwell Street, when he literally pieced together the case against Rosemary West). His evidence in the Gilfoyle case was never presented at trial. This was because there was a complete lack of preparation for the trial by Eddies former defence, who were trying to obtain expert reports to refute the prosecution case while the trial was in progress. They did not approach one single civilian witness to give evidence including Maureen Piper who’s existence they were well aware of.

Because Professor Knights evidence was available at the time of the trial, the Appeal Court refused to hear it. Professor Knight’s report comprehensively dismantled the case built by the Crown. The scenario presented by the prosecution - which was the only theory they were able to put forward - had Eddie taking Paula into the garage, surprising her by snatching a noose over her head, (the other end already tied to the beam), lifting her feet up and holding her until she was dead. Hence the importance of the Crown’s argument that the rope was tied into a running noose. Despite the evidence to the contrary from the mortuary assistant, it was described as a running noose throughout the trial. But why would Paula enter the garage with Eddie ? According to her friends, Eddie had terrified her by showing her ropes tied to the beams in the garage on a previous occasion.

Professor Knights report concluded that the forensic evidence disproved the Crown’s theory. Some of his criticisms of the prosecution case, in particular the lack of any bruising or signs of a struggle, had been raised by the trial judge, forcing the Crown’s pathologist, Doctor Burns to conclude that Paula "must have been a willing victim!" In other words she must have assisted her husband in her own death, by standing there while he tied a rope around her neck. The Crown’s case went from the bizarre to the ridiculous.

Professor Knight also criticised the Crown’s assertion that suicide in pregnancy could be virtually excluded on statistical grounds. He conducted a survey of colleagues in other countries and obtained computer listings from medical literature which contained numerous references to such suicides. He showed that, in fact, if anything could be excluded on statistical grounds, it was homicide by hanging. In forty years experience he had never encountered such a murder or heard about one from his colleagues.

PAULA'S MEDICAL HISTORY

In building a case of murder and not of suicide, the prosecution told the jury that Paula had no history of depression. Many witnesses were called to give evidence that she was in good spirits in the weeks before her death. Paula’s GP, Doctor Barbour, told the court that he had never known her suffer from depression. He had treated her on one occasion with valium when she was sixteen. She had ended a long term relationship with her then boyfriend, who, within a few days, raped and murdered an 18 year old girl in a local park. He had strangled his victim with his belt and dragging her across the park by the ligature, threw her body into the lake. Is it likely therefore, that Paula would have allowed somebody to put something around her neck after that ? Her doctor and family had told the court that she soon recovered from the trauma. The police investigation revealed that this was far from the truth. In 1975, when Paula was 15 years old, she was diagnosed as anorexic. Her medical notes are incomplete and so there is no record of what treatment, if any, she was given. This in itself is most unusual and suspicious. In 1986, ten years after the rape and murder in the park, Paula was again prescribed valium. Two years later she visited her GP again and was given Mellarill, a drug prescribed for personality disorders. Paula’s true medical history was never presented to the jury.

PAULA'S DIARY

In court a picture was painted of Paula as a happy, bubbly person who was full of life and most unlikely to commit suicide. However, she kept a five year diary which reveals a somewhat different person. In it she writes of the abuse she suffered at the hands of a previous boyfriend and of her recurring depression. Paula Gilfoyle, it appears, concealed much about her true feelings and actions from those around her.

The jury were also kept in ignorance that Paula had confided to a friend shortly before she died that she did not want the baby she was carrying and was sorry that she did not have an abortion when she had the chance to.

RE-INVESTIGATION OF THE CASE

After the trial. Eddie’s family lodged a complaint with the PCA about the conduct of the investigation, listing over 100 irregularities. Prior to the appeal, John Cartwright of the PCA told C3 Department of the Home Office that the PCA considered Eddie’s conviction to be unsafe. Superintendent Gooch of the Lancashire Police and who headed the re-investigation also shared the PCA’s opinion. The Gooch investigation could find no evidence that a crime had been committed.

THE APPEAL

Appeal Court Judge Beldham opened the hearing by stating that he would not allow any criticism of the Merseyside Police or the former defence. He refused to hear any of the evidence uncovered by the PCA investigation including the planted rope and sent Eddie back to prison. As the prison officers took him down to the cells Eddie shouted "I’m Still Innocent."

TRIAL AND ERROR

After the appeal failed the Channel 4 television
series broadcast an hour long documentary about the case. They described the investigation conducted by the Merseyside Police as a ‘Keystone Comedy of Errors.’ It was those ‘errors’ that prevented the jury from hearing all of the evidence that was available in this case and resulted in the conviction of Eddie Gilfoyle.

They commissioned a report from Dr Jack Weir, a former Consultant Psychiatrist at St Mary’s Hospital, London, and an expert in suicide during pregnancy. He concluded that the suicide letters written by Paula were genuine and the second highest incidence of suicide in pregnant women occurred, as with Paula, in the last weeks of pregnancy.

The programme also highlighted the fact that there was money worries. Paula was the main breadwinner and with the baby on the way their financial prospects were bleak. Paula ran a catalogue agency and when she died there was an outstanding balance of £2,500.00. Some of her customers were bogus. Having already re-mortgaged the house to pay for the refurbishment’s that Paula had set her heart on the drop in the family income was going to be major. Jackie King of Southwark Consumer and Money Advice Centre said "I would think that somebody like her who obviously is very careful about her finances would know that she was going to be in big trouble in the next few months."

Another expert in the documentary showed that Paula would have been able to easily have tied the rope around the beam from where she was found hanging. Professor Knight said "Medically speaking there is nothing about this case which prevents this from being a suicide by hanging." Eddie’s solicitor, Campbell Malone who was responsible for the overturning of the conviction of Stefan Kiszco stated "I feel embarrassed that the system has worked so badly in this case - I think it has worked even worse in this case than the Stefan Kiszco case - At every stage it has been defective."

DISCIPLINARY HEARING

As a result of the PCA inquiry Detective Superintendent Harrison, Detective Chief Inspector Baines and Detective Constable Gregson faced disciplinary charges of Neglect of Duty and Falsehood and Prevarication. It took three years from the conclusion of the PCA inquiry for the Chief Constable of Merseyside to hold a disciplinary hearing and five years from when the original complaints were made. The Chief Constable of Merseyside heard the evidence at the disciplinary hearing and dismissed all of the charges against two of his officers finding them not guilty on all counts. The Detective Superintendent did not face the charges at all, as he had retired from the Force before the hearing took place. Incredibly, the planted rope was not mentioned throughout the disciplinary hearing and did not form part of any of the charges.

CRIMINAL CASES REVIEW COMMISSION

The view taken by the CCRC is that all the evidence uncovered by the PCA investigation cannot now be considered by the Court of Appeal.

This means that the PCA evidence, including the planted rope, was not allowed to be heard at the last appeal, cannot be heard at any future appeal and was not dealt with at the police disciplinary hearing. The Authorities have left no forum available for Eddie to raise any of the corruption in his case.

Pre-production unit - Roles

Jack  - Producer/ Writer

George - Director/ Editor


Producer

Producers play an integral role in the television, film and video industries. In this role I will oversee each project from conception to completion and may also be involved in the marketing and distribution process.

I'll work closely with directors and other production staff on a shoot. I'll also need to have directing skills to take charge of all project operations. I'll arrange funding for each project and keep the production within the allocated budget.

Responsibilities

As a television producer, I'll need to:

  • Raise funding
  • Read, research and assess ideas and finished scripts
  • Commission writers or secure the rights to novels, plays or screenplays
  • Build and develop a network of contacts
  • Liaise and discuss projects with financial backers - projects can range from a small, corporate video costing £500 to a multimillion-pound-budget Hollywood feature film
  • Use computer software packages for screenwriting, budgeting and scheduling
  • Hire key staff, including a director and a crew to shoot programmes, films or videos
  • Control the budget and allocate resources
  • Pull together all the strands of creative and practical talent involved in the project to create a team
  • Maintain contemporary technical skills
  • Organise shooting schedules - dependent on the type of producer role and availability of support staff
  • Troubleshoot
  • Ensure compliance with relevant regulations, codes of practice and health and safety laws
  • Supervise the progress of the project from production to post-production
  • Hold regular meetings with the director to discuss characters and scenes
  • Act as a sounding board for the director
  • Bring the finished production in on budget.




Writer

Television Writers are skilled writers who prepare scripts for a wide range of television including commercials, soap operas, comedies, documentaries and dramas.

Some Writers create station announcements, previews of coming shows, and advertising copy for local sponsors. These editors may also write material for locally produced shows. They must be able to write persuasively, creatively, and quickly because of the pressure of deadlines.

The Television Writer is the person responsible for creating all plot lines, dialogue, characters and situations. The Writer provides the initial story as well as rewriting and polishing scripts. Episodic Television Writers can also serve as producers as well and are responsible for both the budget and the overall quality of production.

Writing for television is different from writing for film or stage. Television Writers must be able to write to order. For example they will need to write for a specific audience and to fill a specific time slot. It can be almost a technical job. They may be working as part of a team under a head writer who makes many of the creative decisions. Writing what the show calls for under a strict timetable is often more important than artistic expression.

Some Writers work full time for television stations but many work freelance on a job by job basis. Although individual television episodes are credited to a single Writer (or writing team), Television Writers often write as a group. Depending on the show, the budget available and the preference of the showrunner, there could be up to twenty Writers working at different levels on a single series from staff writers to producers.

Television Writers are usually employed on the basis of what they have written. A good spec script is a sample of your writing that shows other people that you understand television writing and is a good way to demonstrate your skills. It could be a script of an existing television show that you have written or an original television pilot.

Monday, 10 December 2018

Liam allan case and problem with disclosure


This is taken from a practising barristers blog who records his findings what the actual disclosure problems were with his case.




"In criminal cases, the State has the Police, an agency for the discovery of evidence, superior to anything which even the wealthiest defendant could employ" - Lord Devlin (1976)




Liam Allan, a criminology student at Greenwich University, was charged with six counts of rape and six of sexual assault. During the trial, the contents came to light of mobile telephone messages sent by the complainant including messages asking Mr Allan for sex. This material had been held electronically by the Police. The outcome was that prosecuting counsel (Mr Jerry Hayes) offered no evidence against Mr Allan and the case against him ended.




Mr Allan had spent almost 2 years on bail - in itself a serious concern - and, if convicted, a lengthy term of imprisonment was inevitable given that the maximum sentence for rape is life imprisonment and, for sexual assault, is 10 years. A serious miscarriage of justice was averted at the 11th hour with the trial judge asking for an inquiry to determine why this material was not disclosed sooner.




Disclosure has been the subject of three posts earlier this year - 19th July, 6th August, 18th August and 30th August. Failure to disclose material crucial to the defence is a major concern for criminal lawyers. There is no room here for complacency and the matter must be addressed thoroughly.




The duty to investigate all reasonable lines of inquiry is in section 23 of the Criminal Procedure and Investigations Act 1996. Section 23 begins: "The Secretary of State shall prepare a code of practice containing provisions designed to secure - (a) that where a criminal investigation is conducted all reasonable steps are taken for the purposes of the investigation and, in particular, all reasonable lines of inquiry are pursued; ...." The Code of Practice paragraph 3.5 states that "the investigator should pursue all reasonable lines of inquiry, whether these point towards or away from the suspect."




There can be no doubt that it was a reasonable line of inquiry to examine the messages sent by the complainant.




The INITIAL duty on the prosecution to disclose is set out in section 3 of the CPIA which requires disclosure of any prosecution material .. "which might reasonably be considered capable of undermining the case for the prosecution against the accused or of assisting the case for the accused .."




Where (as here) the trial is in the Crown Court, once there has been initial disclosure a defence statement is required under section 5. The required contents of this are set out in section 6A and include the nature of the accused’s defence, including any particular defences on which he intends to rely. For example, Mr Allan claimed all along that the sex was consensual.




Under section 7A there is an on-going duty on the prosecutor to keep under review the question whether at any given time (and, in particular, following the giving of a defence statement) there is prosecution material which - (a) might reasonably be considered capable of undermining the case for the prosecution against the accused or of assisting the case for the accused, and (b) has not been disclosed to the accused."




There can be no doubt that the messages sent by the complainant ought to have been disclosed, at the very latest, when the defence had filed a defence statement.




It is reported that the Metropolitan Police and the CPS are to review the case but, in the House of Lords, the Minister ruled out a judge led inquiry into disclosure - Hansard 18th December.

Sunday, 9 December 2018

Directors statement Influence

These three Directors statements are from Documentaries about victims. The first one is Somewhere Between, a documentary about stereotypes of  Chinese adoptees and how they are coping in society/ what they are faced up against. The Second is about victims of homophobia in sport and the third is about the healing process from being a victim of desease. 


Somewhere Between - Directors Statement


My daughter's name is Ruby Goldstein Knowlton. She’s seven. When my husband and I adopted her from China, we had no idea what lay ahead. We became a family in an instant. But as I began to think about Ruby's future, I started to wonder how her coming of age would differ from mine. I began talking to older girls who had been adopted from China and brought to the U.S., and plunged into a world not just of identity but of what it means to be who we are.

This film, SOMEWHERE BETWEEN, was born.

The primary themes of SOMEWHERE BETWEEN are identity formation, family, adoption, and race. The film focuses on the intersection of all of these themes through the coming-of-age stories of four girls. As they discover who they are, so do we. Through their specific stories, we as viewers come to understand more fully the meaning of family and the ever prevalent cultural disconnect between stereotyping and race—whether we are adoptive families or not.

I hope the film will create an emotional experience for viewers, and in the process educate and help create a language that helps describe what it means to be “other” in the U.S. I also hope the film will inspire reflection on how we all form our identities, and on our growing global and personal interconnections, especially those networks of women and girls that have been formed due to this large wave of adoptions.

In the years since I began work on this film, Chinese adoption has changed significantly—more boys are now being adopted, and the rate of adoption has slowed. Today, most Chinese adoptees are children with special needs, of both genders. While all adoptees face similar feelings and challenges, the film’s focus on that first, relatively new wave of Chinese girls remains relevant; female Chinese adoptees remain in a category all their own due to the sheer number of children involved, and because those adoptions—and abandonments—were then based solely on gender. These personal, social, and cultural ramifications are significant.

Nevertheless, I am making this film for everyone. For the girls, so they can see their experiences in connection with each other, and for everyone who grapples with issues of race, culture, identity, and being “different.” By necessity, we must all try to comprehend the experience of being “other” in America, to see how each individual finds his or her own way in society. This film explores the emotional and psychological fallout on our daughters and our selves, and our cultural experience when stereotypes and assumptions collide.

Through the voices of these four young women in the film, we begin to understand what they face, and understand more deeply our own complex relationships and culture.

I hope SOMEWHERE BETWEEN will start a dialogue about what we see, who we are, and the changing face of the American family. This film is about these four girls, and the 79,562 girls growing up in America. Right now.

-- Linda Goldstein Knowlton

















Training Rules


DIRECTORS' STATEMENT

While making a film about homophobia in sports, I learned of a legal battle brewing between Penn State student athlete Jennifer Harris and women's basketball coach Rene Portland. Coach Portland had summarily dismissed Harris at the end of her sophomore year (2005), although she would have been the leading scorer for the team at the onset of the following season.

Harris said Portland dismissed her because she perceived her to be gay. Portland said the dismissal had nothing to do with sexual orientation and called Harris "lazy" and "volatile" in published reports. After anguishing over whether she could take on Penn State University and its famous coach, Harris and her family approached The National Center for Lesbian Rights (NCLR), which determined that this case was emblematic of a pervasive and stifling homophobic climate in women's sports. The NCLR filed charges against Portland, athletic director Tim Curley, and Penn State University.

The suit alleged discrimination based on perceived sexual orientation, racism and gender stereotyping. I realized that this case would provide the perfect lens through which to document homophobia in sports. Thus, Training Rules was born.

In 2006, I enlisted Fawn Yacker, the cinematographer of multiple Academy Award-winning documentaries, to co-produce and co-direct the film. "I was initially brought into the project as cinematographer. When I learned how pervasive homophobia in sports was, I accepted Dee's invitation to become more deeply involved in the project. Training Rules tells the stories of athletes whose lives were irreparably damaged when a university turned a blind eye to the destruction caused by discrimination based on sexual orientation. It shows how one woman's courage to speak up changed the course of sports history."







Heal - Directors Statement


Over twenty years ago, an inspiring music instructor, Jim Klages, sparked my love of music. A highly respected cornet soloist in the Washington, D.C. area, he was diagnosed with multiple sclerosis at the height of his career. What followed was the loss of nearly everything Jim valued in life: his elite soloist position with the “President’s Own” U.S Marine Band, his house, his financial stability, and his comfortable family life. Not until years later did Jim discover hope for his condition when he met a healer who helped alleviate many of Jim’s symptoms. This marked the beginning of Jim’s return to the art he loved.

Years later, Jim and I reconnected and I learned about his remarkable journey. At first his story of disease and recovery struck me as unbelievable. However, the more I learned about the complexities of Jim’s disease and the way each individual is uniquely impacted by it, the more interested I became in bringing his story to film. As production began and Jim and his wife and caretaker, Carol, shared their experiences with me, the film took on compelling new dimensions; I discovered a story that was as much about a family’s struggle to persevere as a story of chronic illness.

Featuring Wynton Marsalis, MS researchers from the National Institutes of Health, and the current and former directors of "The President's Own" U.S. Marine Band® in Washington, D.C.

Tuesday, 4 December 2018

Manchester test shoot prep

The first thing I did when George and I decided that it would be a good idea to use the charity event Innovation of Justice as a chance to conduct a test shoot was to recce the location as much as I could. At first all we knew was that it was being held at Manchester University however after contacting the university directly by telephone they informed me it was being held in the Reynolds Building. So I researched into where the nearest parking is, which happened to be the Charles Street car park, this is a multi-story carpark next to the North campus, a couple of minutes walk from the Renold Building. You do have to pay for parking, it’s about £8 for a day however the head of External Relations at the university Sophie Thies said I could talk to one of the event coordinators about claiming the money back.

Now that parking was sorted I requested a floor plan from Ms. Thies as she had seemed very helpful and cooperative as well as friendly over email. By the following day she had emailed me both a picture of the room and the Floor plan of the Building informing me it would be held in room C9.




Following this correspondence, I marked all possible positions on the floorplan in which we would be able to place the cameras allowing for access to fire exits etc. I played around with camera positioning for a while on the floor plan but to me, there was only really one set up that would allow for fire escape access and plug socket access in case all batteries ran out and we needed to run the camera off of direct power from the mains. The set up consisted of One Panasonic at the top of the first stairwell, to the right-hand side to allow for not only a wider range/ angle of vision for the camera but in case of a fire people would still be able to get past. I made sure however that the doors where I was going to place the camera wasn't a fire exit which it was not as the other set of double doors were electronic and automatically opened and stayed open until the alarm was turned off if it ever went off in the event of a fire. The red dots on the floor plan indicate fire extinguishers so if I had set the camera up at the top of the other double doors not only would I be blocking a fire exit I would be obstructing a fire extinguisher. Therefore The camera placement you can see below is the best possible set up in that room.


We also attached a GoPro to the glass window of the projection room above the back row of seats to gain wide shots of the audience and also experiment with the possibility of having time-lapse footage.