Directors Statement

My shoot for my Directions Unit six minute piece was more successful than my first attempt at organising a shoot, however not everything went to plan. To begin with, I had managed to obtain 6 Actors through facebook acting groups/ acting agencies and another 4 that were friends, however they would be required at different times for different roles as they were in different scenes. With this in mind I decided to use the contracted agency actors first so that i didn't accidentally break the legal contract by changing shoot times etc.

I decided to cast relatively young looking men for the suspect roles and older men for the two main interrogators so that symbolically it would be like young vs old, good vs bad, polar opposites. I also chose to cast my characters differently to Love's when looking at the character "George". In the film he is a young man, early to mid 20's. However i wanted both George and Jack to look of similar age so that if someone was to read between the lines, they may think that the two characters go back a long time, sort of brotherly bond as partners not an apprentice and his master style of relationship.

Another change I made was with costume, all of the interrogators are wearing suits and ties apart from Jack. I wanted this to imply that his attire reflects his messy and disorganised life as well as his manor of conduct. Also something to note is that no other interrogators swear apart from the "bad guys" and Jack. Perhaps this could reflect on his morality and shady back hand dealings you would see later in the film? Regardless of their morals though I kept the same tense underscore of music playing throughout every characters scene as to maintain the tension.

I arranged to pick crew and actors up myself and due to traffic, instead of starting at 4 we were starting at just after 5. This didn't matter too much though as all the equipment had been set up from 3:30 onwards. The first scene went quite well, the lighting was quickly agreed on and the actors (one of which was my friend as i thought he suited the role very well) knew thier lines and performed them well. After about an hour I offered for the cast to have a break for a smoke etc and they obliged, then we re-convened after about 15 mins and continued with filming. Not long after we wrapped that scene and prepared the actors that were in the next scene. they all had their costumes on and the props had been put in place, but it became clear the actor playing the main suspect hadn't learnt his lines. This caused extremely long delays as we had to keep stopping the recording as he stumbled over his lines. Instead of it taking and hour to an hour and a half it took us until 9:30 pm.  Of course being a director you could not just yell at the actor for getting his lines wrong, you had to comfort and encourage him in the hopes that after repeating his lines several times he will start to remember them.

I only had 200 pounds to pay for actors services, their travel and their food. I also had to consider petrol money to taxi them to and from the trains stations to location. I also was slightly playing with fire as all of the actors were on different amounts of pay (my friends were on nothing) so if i wanted them to stay my friends then i politely and privately asked all the actors individually not to mention pay as some people are doing it for free. Thankfully this did work however it came quite close when some of the actors were starting to ask about when they get paid so i just quickly and quietly told them that i would speak to them in a second in private. All in all i stayed within budget and obtained usable footage so I feel pleased with the overall experience.

Directions - 2 Other directors

Director 1 - Christopher Nolan

In the second of the Batman Trilogy "Batman Dark Knight" there is a violent interrogation between Health ledger's Joker and Christian Bale's Batman. The scene starts with The Joker illuminated by over head lighting in a prison room.

But then the lights are tuned on and you can see a figure behind the Joker in a close up his face, then follows his head being slammed on the table. I didn't want to directly copy this light transition so i decided i might try and merge the two. 

I wanted to take a shot similar to the one below and try to block light on the interrogator so that it seemed he was in darkness compared to the suspect so to create the impression that the interrogator has dark morals/ personality. 

Director 2 - Guy Ritchie 

When looking at a list of all the films Ritchie has directed there seems to be a general pattern that emerges. Similar themes to Love's films, guns, violence, and gangs. Oh and a lot of cockney accents. Ritchie's scripts especially translate all the narrative through this rough tough way of speaking but it seems so natural, where as it seems in places in some of Loves films, especially Sweeney, the London lingo seems forced. I love the humour in Ritchie's films, but it never seems to be so scripted that they are trying to make you laugh, for example in lock stock and two smoking barrels as Vinnie Jones' Character tells a little boy to "wrap up those guns, count the money.... put your seat belt on!". 

Originally I was going to include some humour in the script however after discussing it with my crew I decided that it wouldn't have fitted in with the scene as the intention of the lighting and camera angles wewre to create tension and fear, these would be counter-acted if humour had been involved.

Directions - Directing Research beyond the classroom

I believe Directing is very much like making a cup of tea. Everyone does it differently, and different people like different types, however everyone can agree that their is nothing better than a good cup of tea! This way of thinking is demonstrated at the very start of Harold Clurman's "On Directing". He starts the book by telling you how he did not call it "The Art of Directing" as he did not want people to believe that by calling it this there was "only one art of directing, one method, one correct way". He goes on to elaborate on the point i made at the start of this paragraph, how directing is different for literally every single person, you do not learn how to direct you just learn how to be more bossy. I found that the key for me to being a successful Director is keeping to a schedule, being organised and not giving in to what other people say/ suggest most of the time but co-operation is imperative. 

 As Director Jon G. Avilsden proves in "Film Directors on Directing"  when he recalls directing the fight scenes in the 1982 film Karate Kid. He said "I was very lucky and got Pat Johnson, a martial artist and master of karate. Robert Kamen is a black belt and knows about it. I listened and said 'that's a nice step. Can you do this and still be true to it? Would it be a nicer picture if you did that ?' We worked together closely and rehearsed every blow for weeks". 

Directions - TV Drama research

Shameless - This is a TV Series that gives an insiders look into life living on the fictional council area Chatsworth estate. The TV Series is mostly hand held and gives a kind of documentary feel especially when you are following a character/ group of characters. Also this TV Series in the first episode has a voice over by the main character, which one of Love's choices for most of his films if not all the way through he uses it to supply the audience with narrative they would not have had from the screen. Also by how the narrator sounds you can guess what kind of film/ character it will be. Love's latest film American Hero uses Narration all the way through and like Shameless, has a very rugged hand held "in - the - field" documentary style of filming.

Trapped - Trapped is an Icelandic murder mystery television series set in Seyðisfjörður and created by Baltasar Kormákur and produced by RVK Studios. What i can draw as a compairson when looking at choices of filming style, is the coloration of this TV Series and The Sweeney. Both deal with dark/ shady topics and they both present cold blue light/ colour in every frame. This is a choice maybe not made direcly by the director but the Director will tell the DP what effect or "look" he wants. 

Directions - Research

Life on Mars

Life on Mars is a British television series broadcast on BBC One between 9 January 2006 and 10 April 2007. The series combines elements of the classic Sweeney from the 70's and modern camera technology, featuring an officer from the Greater Manchester Police (played by John Simm) who wakes up in the 1970s after being involved in a road accident. The title is a reference to David Bowie's 1973 single "Life on Mars", with its lyrics of 'Take a look at the law man, beating up the wrong guy'."

Directions - Character profiles

Jack (Reegan)

Jack or formally known as Reegan is one of the two main characters in this film. He has a short temper and a shorter tolerance for people with superiority. He doesn't respect people who give orders and tends to bend the rules. He is the leader of the "Flying squad" which is a small branch of the police force which deals with potential gang/ violent situations. 

George

George is Jack's loyal partner and he has a girlfriend who is pregnant and a son. He is the second of the two main characters.

Nancy

Nancy is a DCI in the Flying Squad and is also having an affair with Jack. However she is married to DCI Ivan Lewis, this creates drama and tension as the two men do not get on whenever they encounter each other so the audience is waiting to see what sort of reaction would take place is Lewis found out about the affair. 

Francis Allen

Francis Allen is the suspect who Jack believes has committed the robbery and and murder they are investigating. Throughout their interrogation each tries to get at the other by either insulting directly or providing facts that cause embarrassment to  the other.

Johnny Wextru

Harry is another member of the Flying Squad who interrogates one of the suspects. He follows the flying squad into the frontline but is not as main a character as Jack or George.

Evelyn

This character also works with the Flying Squad however is only seen in office and action scenes (whenever the Flying Squad is together). 

Freddie 

Freddie is another suspect/ accomplice of Frances' who is being interrogated by George and Evelyn. 

David (Bald suspect) 

David is another accomplice of Francis' and like Freddy insists throughout the interrogation he was at Francis' house for a BBQ.

Directions - shoot prep

Location

The location for my 6 minute piece is the Beadles Vauxhall dealership in Aylesford. I will be using the Finance and Business Manager's office to film the interrogation scene. I will have to change the desk around etc because i have to simulate 3 separate rooms. Because of this i will have to shoot all the scenes from room #1 in one go then wrap for that set and actors and then bring in the next group of actors and change the set etc.

Storyboard:

I drew a shot for shot storyboard for my 6 minute short piece with description of the camera position/ movements underneath.  

Directions - Three point lighting lesson with Ferg

3 Point Lighting:

- Key lighting: the light in the foreground that illuminates the face/ what is facing the camera
- Fill lighting: the lighting to the side of the subject often giving more depth/ creating less shadow
- Separation lighting: This is the lighting from behind that highlights the shape of the back of the head/ subject

Here i have pictures of a subject with different lighting on them separately e.g key and fill without separation on to show you what difference they make.

In the photo above the subject has no separation (background) lighting but has Key and Fill lighting

In this photo he has Separation lighting but no Fill lighting

And possibly the most noticeable is this one with no key lighting but Fill and separation, creating a dark eerie look

Types of Light:

There are types of light as they appear on camera and there are physical types of light e.g. the source they are coming from. The picture below demonstrates the later. Tungsten lighting is the most recognised and used in the industry, the back-bone of film and TV since the industry began. They give a warm yellow light which is good for both lighting small areas or specific spots (due to barn doors and bulb focus) however they can be extremely hot when used for periods of time and if knocked over can cause a small explosion due to the high flow of electricity (approx 600 watts) to and the heat of the bulb. Daylight/ HMI lights are usually a lot bigger in size and power, these can run up to 24,000 watts! These are most likely to be used on large sets or through windows of buildings to imitate sunlight. LED lights are a modern invention compared to the Tungstens and have many benefits concerning heat and weight, however some may have the opinion that you can not beat or imitate the look of a real Tungsten. LED's provide easier lighting for film makers who either travel from location to location and need something carry'able or those who can't afford to have lighting transported by companies to a set or location. Fluorescent lights are great if you as a film maker are trying to replicate the cold look of an interview scene or harsh "cutting table" kind of light. however they unlike some types of light can not be adapted to suit, they are what they are. 

A "Gaffer" is a term in the filming industry used for someone in charge of lighting. The director dictates the Gaffer what look he would like etc and the Gaffer then should know what to do to create that look, they must also be able to do it quickly and under pressure. The five points noted in the picture are things the Gaffer needs to keep in mind at all time and whenever he is making a decision.

Director research - presentation

Nick Love (born 24 December 1969) is a British film director and writer. His credits include the films The Football Factory, The Business, Goodbye Charlie Bright, Outlaw, The Sweeney, and a 2009 remake of football hooliganism drama The Firm.

Career

Writer:

 2015 American Hero

 2015 The Sweeney: Paris (original story)

 2012 The Sweeney (written by)

 2009 The Firm (adaptation)

 2007 Outlaw (written by)

 2005 The Business (written by)

 2004 The Football Factory 

 2001 Goodbye Charlie Bright (screenplay) / (story)

 1999 Love Story (TV Short)

 1999 The Escort (adaptation)

Producer

 2011 A Night In The Woods (producer)

2010 Monsters (executive producer)

2008 The Children (executive producer)

2008 Bronson (executive producer)

2008 Faintheart (executive producer)

2007 w Delta z (executive producer)

2006 Dirty Sanchez: The Movie (Documentary) (executive producer)

1995 Skin (Short) (producer)

Director

 2015 American Hero

 2012 The Sweeney

 2009 The Firm

 2007 Outlaw

 2005 The Business

 2004 The Football Factory

 2001 Goodbye Charlie Bright

 1999 Love Story (TV Short)

On 1 August 2012, Love's film The Sweeney made its world premiere at the opening of the Locarno International Film Festival in Switzerland. The film is based on the British television police drama of the same name. Love said that he had interest in making the movie for several years, but had difficult negotiations with studio executives who wanted him to make the film with an Americanised style. This is the film who's scene I will be re-filming in my own way. I have chosen the interrogation scene 40 mins in where the "flying squad" has caught who they believe to be the suspect for the murder of an innocent bystander in a jewellery heist.

Here is a comparison of the two Sweeney Films, the original and the 2012 version

Original Movie

2012 Nick Love version

Loves style of directing seems to consist of trying to capture the "hard man" image and transform that into a genre. He uses fast pace cuts and dark humour accompanied by adult themes such as drugs and violence to create his "films". Most of his early works revolve around hooligan culture such as The Firm and The Football Factory. I would imagine he sends his actors criteria sheets with:
- Must have strong London or cockney accent
- Must walk around with a stride (observe Danny Dyer)
- Must wear a tracksuit at least 84% of the time

Aims of my scene:

• Make it look Badass
• Make it a lot darker in tone, narrative and lighting
• Make the good guys look bad
• Moral ambiguity
• Ray Winstone

Directions - The Director Prep Project

Actor: James McAvoy - Due to McAvoy's northern heritage (born in Scotland) he will know a fair bit about northern upbringing, northern sayings, and basically the northern way of life. He also has a huge variety of accents and personas at his disposal so he would be more than qualified to play the part of  Eddie Dunford. McAvoy has also had experience with this style of genre playing Dan Foster in State of Play a short British TV series aired in America.

Director of Photography: Peter Sinclair - One of the main reasons I would choose Sinclair as the Director of Photography would be that he was DP for most of the episodes in the crime TV series New Tricks. Yes New Tricks can be slightly humorous in places however the lighting, colour and staging is absolutely on point with all the episodes. For example if a light hearted conversation is going on in the office a beam of warm yellowish sunlight might be shining through the blinds, but when arriving at a crime scene the frame will be very cold and blue. It is as much about the obvious choices as it is about the subtle ones when it comes to being Director of Photography.



Production Designer: Gillian Devenney - By definition a production designer or P.D. is the person responsible for the overall visual look of the production. Production designers have a key creative role in the creation of motion pictures and television. Devenney was Co- production Designer with two others ( Edward Thomas and Tom Brown) on a TV series called Line Of Duty, however they only worked on three episodes each where as Devenney accomplished nine. Line Of Duty, set in the west midlands, is about a Detective Sergeant who is transferred to an anti - corruption unit but as the story progresses there seems to be corruption a lot closer to home than originally suspected.

Composer: Noah Hawley - Noah Hawely is an American film and television producer, screenwriter, composer, and bestselling author, known for creating and writing the FX anthology television series Fargo. I feel that Hawely would best suit the role of composer for Red Riding as Fargo bares
similarities to it both in story and genre. And if the genre is similar then the composing can be similar which will mean Hawely wouldn't be out of his comfort zone and could draw on previous experience.








Editor: Elísabet Ronaldsdóttir - Ronaldsdóttir is an Icelandic born editor who has worked on the likes of John Wick, Contraband and The Deep. The editing style of Trapped, the series that I came to find Ronaldsdóttir, is harsh and unrelenting much like the environment it is being filmed in. Very little colour is shown in this TV series and lots of subtle cuts are used to imply who is a suspect or lead you into a red herring.