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Bonus entry: Production work and audio recording

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Bonus entry: Production work and audio recording

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Recording my own narrative was a challenge. I have severe moments of embarrassment listening to and reading my own work, but getting into a character was the best way that I could understand and feel what I'd written enough to garner enough emotion over it and see a perspective that was different from my own. When writing and composing the dialogue, I wanted to become someone with a lot more cynicism, with a negative world view. I'd see myself as an optimist, so actually vocalising the fears of a human who could see nothing good from the world around them allowed me to stretch my acting skills and consider the audience we would be reaching out to. A young adult audience is probably our best bet, but we may alienate people with the anti-technology dialogue written. As a writer, it's incredibly interesting to delve into a perspective you don't share, or slip into the body of someone unfamiliar, so for this film, I got to write for someone who could reach to a different kind of audience from myself.

Apart from the more audience related aspects, we had some audio recording issues. During set up, Jake had plugged in the wrong input, which meant we were recording from a completely different mic than what we thought we were recording from. When checking the audio, Jake found that he couldn't hear my voice very well. To rectify things like this happening in the future, it's essential that we check over the equipment and do a couple of tests prior to recording, just to make sure we won't be making similar mistakes.

Re-recording wasn't an issue, as we'd gotten to a comfortable place where we knew what we wanted and how we wanted to do it, but it was an annoyance because we had other things to work on at the time, which meant we had to spend another hour recording. During this second round, I did slow down my speaking and attempted to enunciate a little clearer, because at the end of the day, I don't really want to isolate anyone by awkwardly stumbling my way through the narrative. Re-recording was probably essential, but there was bits I really liked from the first recording that I wish we could have saved.

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Jake composed a survey to analyse people's childhood dreams and adult habits, and it's interesting to note the sheer volume of interesting responses he received, in comparison to the survey's I send out that are usually lacklustre. I'm sure this is due to the diversity between our peers and the people we have on our social media accounts, but that's a completely different conversation. One of the questions on the survey was 'If you could do anything different or have anything what would it be?', and it's interesting to note that most of the answers on this question were related to financial gain or a better career. It's a testimony to our capitalist nature and how we really do need funds to survive, and will be interesting as a narrative element because it gives us the chance to show class struggle and the things people have to do just to make a living and pay for their essential needs. Another interesting result that both Jake and I were intrigued by was a response to the question 'what makes you bored?'. Quite simply, someone wrote 'Social Media', which is fascinating on a lot of levels. It says a great deal about how people feel obligated to talk about and present their lives to people online, rather than pose actual interaction between people.

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https://mymorningroutine.com/statistics/
An initial part of the monologue narrative will include a section about the character's typical morning routine and how exactly they got to that point. By collecting a wide range of data from primary and secondary sources, I can write a script that is as representative as possible, as Jake and I are determined to have the character be as vague in background as possible, almost in the way that a children's TV character may have blue green or purple skin to represent all children instead of one race. The point is to touch on a universal dread that frequent routine can often bring.
Using a couple of websites, I've found out some interesting and usable statistics. According to a survey from mymorningroutine.com, 60 percent of participants check their phones immediately, which is a testament to how integrated technology is in our modern society, and is absolutely something I can comment on. It's also useful and slightly disheartening to know that 78 percent of the participants exercised in the morning, which not only makes me feel incredibly lazy, but this statistic could possibly used in order to represent depression by taking away the character's ability to do this every morning, by making them the minority.

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From the first announcement of the theme, I knew that I wanted to use EL wire in the project to represent illumination and artistically create the glow I needed for contrast with the dreary backgrounds. EL stands for Electroluminescent, and it's an often used material in art and sometimes costuming. In this context, we will be using it to create shapes or letters and then shooting with it in a variety of locations. It's a 'light in the dark' sort of deal, mostly for aesthetics, but also for metaphor. When purchasing it, I noticed that a lot of EL was being sold on retailers such as eBay and Amazon, and it didn't seem to be a very good quality from checking the reviews and going over people's opinions. There was an Amazon retailer selling EL wire for 2 pounds with free shipping, and it's important to not get sucked into something because it's a good deal, as when I looked into the reviews, there was negative review after negative review, and I decided to seek out a professional retailer instead. I explored http://elwirecraft.co.uk/ which had all of the relevant information I could need, as well as reasonably priced equipment. It's important to check sources and be thorough before you buy, as I could have been left with a bad quality product and no pre-production time to get anything else that was just as reasonably priced and just as easy to ship.

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Using the library as my primary resource, I checked out a variety of books that cover film making and filmmakers, not only for educational purposes, but also inspiration. For example, a checked a book out cataloguing David Lynch's works as the surrealist elements of his movie's are interesting to me as a filmmaker and artist, and they could come in handy to my group partner who is handling the visual elements of our film.
Although I've have composed multiple scripts for multiple projects, my weakest force when writing happens to be layout, so renting out books that give me the extra information I need in order to structure my work in a way that is neat and coherent will allow me to give my director a clearer idea of what I'm going for, as well as showcase what I've learnt between writing my first real script last year to this moment. For example, in Syd Field's 'The Definitive Guide To Screen Writing', they point out the real structure and the correct way to layout your script if you're writing a traditional film with a beginning, middle, and an end. This is beneficial as there are a variety of ways to plan and write a script, but knowing the basics is always incredibly vital and will definitely benefit me in the future. As well as that, this particular book is so useful due to it's array of relevant examples that can apply to my screenwriting. At the beginning, the author uses Chinatown as an example of how to integrate plot into the structure, and even if my script is more of a monologue, that will be useful for future writing projects.

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Paterson is an interesting movie in the case that little action really happens. It's a finely crafted exploration of a quiet week in a quiet man's life, and it rolls on like a normal day for just about anyone who qualifies under the working class label. Paterson wakes up, he greets his wife, he goes to work, he works on a piece of poetry, before eventually coming home and rounding off the day with a dog walk and a single beer in the local bar. If that sounds like an unremarkable premise for a movie, especially seven times over, I probably would have agreed with you before actually watching the film, but there's an extraordinary gentle nature that allows the every-man character of Paterson to come across as incredibly artistic, empathetic, and sympathetic.
A reason I'm so inspired by this movie in terms of narrative and dialogue is that the direction and screenplay (both done by Jim Jarmusch) say a lot by saying so little. It's refreshing to celebrate one of the simplest forms of living, humbly and quietly, without really giving the audience any action or palpable tension to feed off of, and as a writer, I'm way more interested in a character study than an angry and tense war epic. It's also very influential in regards to this project because I will be writing about the typical actions of a rather regular person, and how this can affect their mental state, so watching a movie that lays someone so bare without really having them do all that much interests me to create something with similar reach.

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Paterson Official Trailer 1 (2016) - Adam Driver Movie

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This moodboard is a representation of what exactly Jake and I aim for in terms of aesthetics and visuals. We both agreed on the concept of neon against forest backgrounds, which is a collision of something synthetic against something natural, creating dissonance in our film and elegantly articulating a statement. Other things in this moodboard include shadows and faded light, implying mystery and a vague hostility within the piece. We both want to create something with high art value as well as an appeal to a general crowd, so we plan to cast diverse talents to engage in typically majority centric practices, for example, a conceptual art film with thoughtful value.

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