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Lie to yourself about this and you will

forever lie about everything.

Everybody already knows everything

so you can

lie to them. That's what they want.

Queer by Frank Bidart.

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Reading this poem my first thoughts were isolation loneliness and dishonesty. This character is very much struggling to come out as queer to his friends and family and almost debating in their head whether they should do it or not. The use of the word 'everybody' really evokes that feeling of isolation as that can represent ‘everybody but him’ referencing how he's alone in this situation. I think the last sentence is really powerful as it shows how some people can struggle with change as this character is and if they tell people this new revelation, they may respond badly. 'What they want' is things to stay the same.

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https://poets.org/poem/queer

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The only thing I miss about Los Angeles

is the Hollywood Freeway at midnight, windows down and
radio blaring
bearing right into the center of the city, the Capitol Tower
on the right, and beyond it, Hollywood Boulevard
blazing

-pimps, surplus stores, footprints of the stars

-descending through the city
                   fast as the law would allow

through the lights, then rising to the stack
out of the city
to the stack where lanes are stacked six deep

              and you on top; the air
              now clean, for a moment weightless

                        without memories, or
                        need for a past.



The need for the past

is so much at the center of my life
I write this poem to record my discovery of it,
my reconciliation.

                   It was in Bishop, the room was done
in California plush: we had gone into the coffee shop, were told
you could only get a steak in the bar:
                                      I hesitated,
not wanting to be an occasion of temptation for my father

but he wanted to, so we entered

a dark room, with amber water glasses, walnut
tables, captain's chairs,
plastic doilies, papier-mâché bas-relief wall ballerinas,
German memorial plates "bought on a trip to Europe,"
Puritan crosshatch green-yellow wallpaper,
frilly shades, cowhide
booths-

I thought of Cambridge:

                   the lovely congruent elegance
                   of Revolutionary architecture, even of

ersatz thirties Georgian

seemed alien, a threat, sign
of all I was not-

to bode order and lucidity

as an ideal, if not reality-

not this California plush, which

                       also

I was not.

And so I made myself an Easterner,
finding it, after all, more like me
than I had let myself hope.

         And now, staring into the embittered face of
         my father,

again, for two weeks, as twice a year,
     I was back.

              The waitress asked us if we wanted a drink.
Grimly, I waited until he said no...



Before the tribunal of the world I submit the following
document:

         Nancy showed it to us,
in her apartment at the model,
as she waited month by month
for the property settlement, her children grown
and working for their father,
at fifty-three now alone,
a drink in her hand:

                   as my father said,
"They keep a drink in her hand":

Name Wallace du BoisBox No 128 Chino, Calif.Date July 25 ,19 54 Mr Howard Arturian I am writing a letter to you this afternoon while I'm in the mood of writing. How is everything getting along with you these fine days, as for me everything is just fine and I feel great except for the heat I think its lot warmer then it is up there but I don't mind it so much. I work at the dairy half day and I go to trade school the other half day Body & Fender, now I am learning how to spray paint cars I've already painted one and now I got another car to paint. So now I think I've learned all I want after I have learned all this. I know how to straighten metals and all that. I forgot to say "Hello" to you. The reason why I am writing to you is about a job, my Parole Officer told me that he got letter from and that you want me to go to work for you. So I wanted to know if its truth. When I go to the Board in Feb. I'll tell them what I want to do and where I would like to go, so if you want me to work for you I'd rather have you sent me to your brother John in Tonapah and place to stay for my family. The Old Lady says the same thing in her last letter that she would be some place else then in Bishop, thats the way I feel too.and another thing is my drinking problem. I made up my mind to quit my drinking, after all what it did to me and what happen. This is one thing I'll never forget as longs as I live I never want to go through all this mess again. This sure did teach me lot of things that I never knew before. So Howard you can let me know soon as possible. I sure would appreciate it. P.S From Your Friend I hope you can read my Wally Du Bois writing. I am a little nervous yet -He and his wife had given a party, and one of the guests was walking away just as Wallace started backing up his car. He hit him, so put the body in the back seat and drove to a deserted road. There he put it before the tires, and ran back and forth over it several times. When he got out of Chino, he did, indeed, never do that again: but one child was dead, his only son, found with the rest of the family immobile in their beds with typhoid, next to the mother, the child having been dead two days: he continued to drink, and as if it were the Old West shot up the town a couple of Saturday nights. "So now I think I've learned all I want after I have learned all this: this sure did teach me a lot of things that I never knew before. I am a little nervous yet." It seems to me an emblem of Bishop- For watching the room, as the waitresses in their back-combed, Parisian, peroxided, bouffant hairdos, and plastic belts, moved back and forth I thought of Wallace, and the room suddenly seemed to me not uninteresting at all: they were the same. Every plate and chair had its congruence with all the choices creating these people, created by them-by me, for this is my father's chosen country, my origin. Before, I had merely been anxious, bored; now, I began to ask a thousand questions... He was, of course, mistrustful, knowing I was bored, knowing he had dragged me up here from Bakersfield after five years of almost managing to forget Bishop existed. But he soon became loquacious, ordered a drink, and settled down for an afternoon of talk... He liked Bishop: somehow, it was to his taste, this hard-drinking, loud, visited-by-movie-stars town. "Better to be a big fish in a little pond." And he was: when they came to shoot a film, he entertained them; Miss A-, who wore nothing at all under her mink coat; Mr. M-, good horseman, good shot. "But when your mother let me down" (for alcoholism and infidelity, she divorced him) "and Los Angeles wouldn't give us water any more, I had to leave. We were the first people to grow potatoes in this valley." When he began to tell me that he lost control of the business because of the settlement he gave my mother, because I had heard it many times, in revenge, I asked why people up here drank so much. He hesitated. "Bored, I guess. -Not much to do." And why had Nancy's husband left her? In bitterness, all he said was: "People up here drink too damn much." And that was how experience had informed his life. "So now I think I've learned all I want after I have learned all this: this sure did teach me a lot of things that I never knew before. I am a little nervous yet." Yet, as my mother said, returning, as always, to the past, "I wouldn't change any of it. It taught me so much. Gladys is such an innocent creature: you look into her face and somehow it's empty, all she worries about are sales and the baby. her husband's too good!" It's quite pointless to call this rationalization: my mother, for uncertain reasons, has had her bout with insanity, but she's right: the past in maiming us, makes us, fruition is also destruction: I think of Proust, dying in a cork-linked room, because he refuses to eat because he thinks that he cannot write if he eats because he wills to write, to finish his novel -his novel which recaptures the past, and with a kind of joy, because in the debris of the past, he has found the sources of the necessities which have led him to this room, writing -in this strange harmony, does he will for it to have been different? And I can'tnot think of the remorse of Oedipus, who tries to escape, to expiate the past by blinding himself, and then, when he is dying, sees that he has become a Daimon -does he, discovering, at last, this cruel coherence created by "the order of the universe" -does he will anything reversed? I look at my father: as he drinks his way into garrulous, shaky defensiveness, the debris of the past is just debris-; whatever I reason, it is a desolation to watch...must I watch? He will not change; he does notwant to change; every defeated gesture implies the past is useless, irretrievable... -I want to change: I want to stop fear's subtle guidance of my life-; but, how can I do that if I am still afraid of its source?

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The only thing I miss about Los Angeles is the Hollywood Freeway at midnight, windows down and radio blaring bearing right into the center of the city, the Capitol Tower on the right, and beyond it, Hollywood Boulevard blazing -pimps, surplus stores, footprints of the stars -descending through the city fast as the law would allow through the lights, then rising to the stack out of the city to the stack where lanes are stacked six deep and you on top; the air now clean, for a moment weightless without memories, or need for a past.

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The idea of the film is meant to be very disorientating so when researching other shorts, I thought to find things with a lot of cuts and mostly handheld random camera movement. Also, with this being a film poem, I want the visuals to convey a feeling more then anything, so I’ve been looking at a lot of music videos that do this very well as inspiration.

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I enjoy this short film for its rapid cuts and spiritic camera movements. The first part of the video doesn't have a shot longer then a 2 second which does a good job at giving the audience a dizzying feeling which is an effect we would like to replicate. Also a lot of the slow motion and fast motion effects really add to that. The lighting of lack there of really intrigued me. There was a big focus on natural lighting and coving the subjects in shadows which I can imagine using in my our film to almost  obscure the main character to show how they are trying to run and hide away from their feelings.

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The main ideas that drew me to this video was the lights and how the really grab your attention. I believe city lights do a very good job at this and can make for very good backgrounds or establishing shots. The focus on one person going on a journey is something I found very interesting because it gives the video a story story.

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This video is a lot more subdued compared to the other but just as effective. The Establishing shoots of where this child lives are what I enjoy he most. With the very static and slow pans. Its very well lit but still keep the shots of the fathers face at a minimum using shadows. I think that this short does the best job at conveying emotions across not just through the visuals but through the voice over also and we want the same effect with our film.

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A short factual film made for Channel 4's Shooting Gallery. The challenge was to shoot a factual narrative within a day following 'A Day in the Life' of someone.

All shot in Stockwell, South London.

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Luc is a young man on the edge of losing his mind: he goes through his everyday life, living a lie as he struggles to come to terms with his queerness, something deemed abominable in the narrow-minded, conservative environment he lives in.

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The content of the poem – as well as its title – made me visualise a story in which a queer person is having trouble coming to terms with their queerness and lying to their close ones, only in the purpose of making everyone feel happy and not create any sort of “discomfort”.

What the first two lines of the poem mean to me is that if one were to deny their true identity, to others and/or themselves, the initial lies would only lead to another lie which will then lead to another and so on.

What I get from the last three lines is a sense of desperation and entrapment: even when facing the truth, some would much rather be lied to than having to confront a truth they simply do not want to face.

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https://cciloanstore.port.ac.uk/

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Open hours

Film Loan Store (Eldon 0.107)

Term Time Opening:
Mon - Fri 9:00am - 4.30pm
Friday 9:00am - 3:30pm

Photography Loan Store:
Mon - Thurs 9.30am - 4.30pm
Fri 9.30am - 4.00pm

Vacation time opening is generally weekday mornings only, but please check with us or your school office.

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CCI Faculty Loan Store - University of Portsmouth - connect2

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When thinking of equipment, the main idea was to get things to really allow us to work on the move as we do want the short to be very kinetic and quite random but also have so more still, slower, and more personal scenes. Also, we will be required to move a lot so something that is lightweight and easier to transport is what we were thinking. Another important thing was to see what could give us the best possible image creatively and narratively. With the audio we were thinking to get something that could pick up ambient sound well for the background noise. With lighting we didn’t want something to aggressive but still give us a good contrast when it came to filming outside at night. We choose equipment that Lévi and I are experienced in and fit the criteria of what we want to present.

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The Tascam Sound kit is extremely efficient sound equipment with all the things that we need to enhance the atmosphere. The audio equipment will only be used for certain bits of sound design and to capture absent sound as there is no dialogue in the short. The DR680 has 8 different changes which will allow us to get really experimental with the sound in post production. It also has extremely good sound quality developed by the Tascam company.

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The Sony fs7 is a  very profession light weight camera that has very high quality image. It's handheld mode is something that was very important to us when thinking about cameras as some parts of the short will be shoot that way. It's very good for long recordings which will help with some of the longer more drawn out scenes we have. The camera also shoots in S- log which means we can get way more creative with the colour grading in post. It has the latest in resolutions  and very fast memory. When thinking of camera we knew this would be our best option.

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https://pro.sony/en_GB/products/handheld-camcorders/pxw-fs7

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XAVC-I QFHD mode: 3840x2160/ 59.94P, 50P, 29.97P, 23.98P, 25P
XAVC-I HD mode: 1920x1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P

XAVC-L QFHD mode: 3840x2160/59.94P, 50P, 29.97P, 23.98P, 25P
XAVC-L HD 50 mode: 1920x1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P
XAVC-L 35 mode: 1920x1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P
XAVC-L 25 mode: 1920x1080/59.94i, 50i

MPEG HD422 mode: 1920x1080/59.94i, 50i, 29.97P, 23.98P, 25P 1280x720/59.94P, 50P, 29.97P, 23.98P, 25P

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4k hdr camera; live stream camera; handheld camera; handheld camcorder

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4k video camera; slomo camera; high speed camera; compact camcorder; comfortable professional camcorder

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FS7 Handheld Camcorder - 4K HDR - Sony Pro

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https://tascam.com/us/product/dr-680mkII/top

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Linear PCM Field Recorder

8-Track Field Recorder with up to 192kHz Resolution

Linear PCM Field Recorder

FEATURES

This model has been discontinued in North, Central and South America.
Please check the availability with your local distributors in other areas.

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DR-680MKII | OVERVIEW | TASCAM - United States

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Linear PCM Field Recorder 8-Track Field Recorder with up to 192kHz Resolution Linear PCM Field Recorder FEATURES This model has been discontinued in North, Central and South America.Please check the availability with your local distributors in other areas.

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This is the structure the film will follow:

Beginning --> Dark: the beginning of the film will be composed of dimly lit images. The first two scenes of the film will be set in the streets of London during night time and the other in the protagonist’s bedroom at dawn. The darkness present at the beginning is meant to visually represent how bleak and depressing the protagonist’s life is.

Middle --> Brighter but still dark: the next scene, set in school, will be shot in a better light. The scene will be visually brighter but will still incorporate some dark tones. The appearance of the man who caught the protagonist’s attention, along with the lighting, is meant to represent a potentially more optimistic future for the protagonist.

End --> Bright: the end of the film will use much brighter lighting. Natural lighting to be exact, and set at the River Thames in London. This is where the protagonist’s life takes a new turn as they finally get to encounter the man they were looking at during the school scene. This scene shot during day time, using only the sun’s brightness and warm, vibrant colours, is meant to represent hope, a better, brighter future for the protagonist.

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The Blind spot gear is extremely useful for a shoot like our as these lights are compact, have a strong intensity and are extremely easy to transport. It's very easy to use with either a stand or handheld which can help with more of the uncomfortable shoots we have planed for the short. Also being able to change the intensity of the lights very easily is very handy. The battery life is really good too helping us with long shoot days.

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https://www.youtube.com/watch?v=GFAm1aVNPPU

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When thinking of the post production we really wanted to present how confusing a situation like this would be for a young man. We want it to come across as very disorientating for the viewer so they could put themselves in Luc's shoes. This will be done through a usage of fast cuts. This will highlight how his mind is constantly changing and cause of the confusion he's struggling to focus on what he actually wants. POV cutaways will be used to get even more of his perspective literally. We also really like the ideas of jump cuts to highlight the passage of time and finding ways to manipulate that. For example, not as much time is going by as he thinks but the jump cut plays on that. They are also some creative transitions we plan on using, like faded in and fade out, which can add to the confusion that we’re trying to create, and invisible cuts which will allow us to take advantage of the crowed space we’ll be filming, and it also acts as a unique way to cut to other senses.

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With the sound design we want to make it as immersive as possible. We don't really want to focus on the motion of the character and the noises he makes but more on the ambient background noises as in the busy streets of London can be very loud and hectic and that can add to the ideas we are trying to present. When it comes to music we've been looking for something that's quite striped back with an ominous tone to it. I found one song called Sweet Love for Planet Earth, which fits what we're looking for and will be the most likely choice for the  short.

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https://www.filmsfatale.com/blog/2020/6/14/editing-types-of-cuts

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Editing is important, for many reasons. Excess moments that don't help a visual story aren't needed. The pacing of a film and its many moments needs to be determined. As much as the shots within a film are important to the visual language, so are the cuts that splice them together and dice them apart. Today, I'll go over the main types of cuts used in a film, and what purposes they would serve. Over the decades of filmmaking, editing has gone from a necessity to clean up a feature (the history of editing will be covered in the future) to one of the many artistic features a film can have. Even though a cut functions almost the same way every time (the exact moment one shot ends, and the next begins), the ways they are implemented tell a unique story for each use.

Your most standard type of cut is the hard cut. This means the cut from one scene to the other. It's the most obvious assembly of scenes. To mark the end of the scene, you have a hard cut that marks the resolution of what has just happened before. It's as easy as that.

There are countless examples of this, since nearly every film for the last one hundred years contains these types of cuts for most scenes. I'm using the start of Lawrence of Arabia, because it's a fascinating hard cut that sets the tone for the remainder of the film.

Note: This sequence is at the very beginning of Lawrence of Arabia, so it's not a spoiler for how the film ends. Regardless, it can still be considered a spoiler. Reader discretion is advised.

After T. E. Lawrence's motorcycle accident, the film hard cuts to the funeral, as an emphatic statement that the focal point of this film is very much dead, and that we are going to view his story all in hindsight. We also see a comparison between the person - who died during a hobby - and the public figure, who was both adored and abhorred. This particular clip features commentary by Dave Lewis, who also classifies this cut as a "hard cut" at the right moment.

For a bit of a unique example, here's a moment from The King of Comedy, where a character creates an interaction in his head. You zip between fantasy and reality, as if it were a live, cohesive conversation.

For a different type of jump cut, we can look at this scene from The Birds. In the middle of this clip, the editing cuts from the subject's shocked face back to the spreading fire a number of times. It creates a sensation that we are frozen in time, and the spread of this fire is unstoppable. All we can do is react, bit by bit.

Cutaways are very common, especially the older that cinema gets. Before, films relied on what was deemed entirely necessary, and what we saw and heard was limited to the bare essentials. Once innovative films showcased the importance of finer details being a part of the whole picture ( Citizen Kane and its opening of cutaways comes to mind), the idea of the cutaway became an integral part of editing. Cutaways are when we literally cut away from the main action to see what is happening around us. In their most common form, they are used to show something the main characters may be noticing off to the side or in the distance. Cutaways can also be more noticeable, like a character fading into a day dream or a memory.

For the more conventional use of a cutaway, here's this scene near the start of The Godfather. As the couple sit together and talk amongst themselves, the film cuts to the singer at the wedding a number of times. This is done for two reasons. Firstly, the singer is discussed, so we match the point-of-view of the characters, thus filling up the spacial awareness of this scene. Secondly, it fills up the empty space during the silence of the two characters (towards the end of the clip). We never lose sight of where we are and what's going on, and the focal characters don't have to do all of the heavy work with establishing the scene.

Cutting can also lead to creative juxtapositions (something I will cover once I get into the history of editing). Of course, you won't find a film that uses too many of these kinds of shots, but using them as a cinematic garnish or the spice for the extra kick always helps. A match cut is a transitional type of cut that mirrors unrelated subjects before and after the cut, in some sort of comparative way. This can be an ironic statement being made and then matched with (Robert Altman's Short Cuts is full of match cuts of this nature), images that line up with one another, or focal points in movement that can line up. Usually, match cuts are used for a very specific purpose, including creating comedic parallels, or showcasing a metaphorical statement.

This iconic moment in 2001: A Space Odyssey is the bridge between two starkly different chapters: the primitive age, and the future. Once tools are discovered through bones, a bone is flung up into the air. As it is flipping in empty space, the film cuts to a flying satellite in space. The implication is clear: this is the start and the foreseeable end of the technological advancements of humanity.

Unlike a match cut, contrast cuts are purposefully meant to create dissimilarity. Contrasts are often utilized in film to emphasize the intention of particular moments; this can include the sadness or joy of a moment, when compared to a starkly different image.

Note: This is the final moment of La Vie En Rose and is considerably a spoiler. Reader discretion is advised.

During this final scene in La Vie En Rose, the sung performance is intercut with images of death and childhood, which already contrast each other. Within the sequence, there's an even bigger contrast, showcasing the importance of music throughout the entire life of this artist; this is particularly important, given the context of the song being performed ("Non, je ne regrette rien," or "no, I don't regret anything").

In line with how contrast cuts and match cuts utilize focal points artistically, parallel editing cuts create seamless transitions with different subjects. This can be used as an aesthetic means to correlate subjects engaging in the same activity but in different places. A common type of use for this cutting style is for chasing sequences, either on foot or by car (amongst other types).

Note: This is towards the end of Charade and can be considered a major spoiler. Reader discretion is advised. As well, the music in this clip is not in the original scene.

This climactic moment from Charade features a fantastic parallel edit cut between the two characters, as one runs away and the other is in pursuit. There's an illusion created, where it's as if the characters are the same, given their relation to the framing of each shot, and the clean cutting as pillars zip past them.

Incorporating sound into the editing process, the way that audio is used amongst transitions can also be utilized wisely. For cross-cuts and hard cuts, there are two different types of cuts that can be used for either of them, if the editor feels the sound from before or after a cut is important. These are known as J and L cuts, and it all has to do with how the cuts look. Refer to the image below.

Additionally, an "L" cut is the exact same type of cut, but in reverse. So, the sound of a scene carries over into the next scene. Similarly, on film or on an editing software, this type of cut will make a "L" shape", as the audio carries off longer than the visual. Reasons for this type of cut are also plentiful, including the turning of a conversation into a voice over (either for a memory or a fantasy), to allow a previous scene to ease off into the next scene gradually, or to let the excitement of a previous moment drift off naturally and not be stopped abruptly.

Note: This is towards the end of Hannah and Her Sisters and can be considered a major spoiler. There is also the discussion of suicide. Reader discretion is advised.

In this pivotal moment in Hannah and Her Sisters, what starts off as a conversation turns into the cinematic recollection of a previous event, as the character's rebuttal continues into the next series of visual images, thus turning into a narration of what we are seeing. We also understand that this is being relayed still to the other character, even though we are seeing these images.

While these are obvious examples of J and L cuts, please note that there are far more common and frequent uses of these cuts, even in normal scenes. If a character is discussing something and we cut to the other character and still hear the first character, then that is still an L cut. We don't have to drastically change scenes. As long as the audio begins before a visual, or continues after a visual, it is a J or L cut. You will find these in nearly every well-edited scene with numerous notable cuts containing dialogue within the last few decades.

Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.

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Editing is important, for many reasons. Excess moments that don't help a visual story aren't needed. The pacing of a film and its many moments needs to be determined.

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We want the start of the film to be very free flowing, loose and disorientating to get a greater sense of what our main character is going through. We’ll accomplish this by having the opening montage be mostly handheld and make full use of the range of lens.. I want the movement to have a similar style to documentaries with you not know where the camera could go next. The movements will be sharp and fast with you almost not having enough time to digest one short until you move on to the other. I also like the idea of which every way the camera moves it dictating which side of the frame the main charterer will be, creating a disorienting effect but making the audience loss track of what’s happening on screen. I will be using focus ring in the middle of certain shots to represent the idea of this character realising who he really is also this can create a very jarring effect on the audience.

As the film develops, we will mainly be using 18mm ,35mm, 80mm lenses. I Want the frames to have quiet a lot of space in them to highlight that sense of isolation accordingly I also want some shots to feel very claustrophobic to give that sense of unease. At this point of the film there will be more stationary shoots. The final sequence we’ll have no handheld shots to give a sense of clarity for the main character.

Shooting in London at night-time really allows for good use of the streetlights and commotion. I believe this could create a very good image as the lights can contrast the darkness. This could create a very cold temperature for the image which connects with our theme. Filling in this location also will allow us to get some good landscape shots of the city which will be very visual pleasing for people watching.

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After reading this poem, my initial thoughts were how difficult and alone a queer person could feel if they were hiding their sexuality because they're worried about what others might think. I think the message of the poem is that if you're lying to everyone else, your only lying to yourself because you're the only person affected by this, and at what point do these lies stop? "Forever lie about everything" is trying to say that you will never be yourself as if your creating this fictional character your trying to be. "That's what they want" in my opinion suggests you should be who you are, not what other people want you to be. This poem gave me a sense of how much pressure some people face being queer and that's what I want to show in our film.

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We've used many locations around central London. All the bright city lights contrast the dark themes in our film. These locations are also very well known so our audience can relate to it more and it's also visually satisfying.

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We chose to shoot in Southsea Beach towards the end of the film for the brighter shots during the warm sun. This location and lighting is meant to represent freedom, hope and a better future for the protagonist as he accepts who he really is.

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The bedroom location will be shown to be a bit small and dull to represent the protagonists feeling of isolation. It will also be a bit brighter than the first scenes but still show some dark tones.

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The shots in the beginning are quite dark to represent the characters feeling of depression and being isolated from everyone else. We used a lot of hand held shots,  changing the focal from being in focus to blurry and some fast camera movements  to give the sense of how disorientated the character was and how he's not focusing on who he really is.

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The shots in the middle of the film are brighter but still have elements of darkness. This is to represent the idea that the character can eliminate the feelings of sadness and isolation if he stops lying to himself and everyone else. The light is shown behind him but it's covered by the curtains and he's looking into the darkness instead of the light.

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This shot again represents how he feels. He's sat down lower than the other two characters who seem to be happy to see each other whereas he's looking down suggesting his feelings of isolation as if he doesn't belong there.

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This shot at the end of the film is well lit showing him looking out into the bright beautiful sea. This shows us he's coming to terms with what he actually wants and his feelings of depression and isolation is fading away. This represents the freedom and all the weight being lifted off his shoulders.

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FEBRUARY:
- We had our first meeting on the 8th to discuss what poem we liked the most, how we interpreted it and proceeded to think of potential stories, scenarios for it.
- After came the research and the development of the story idea which we continuously discussed throughout that week until our second meeting where we finally agreed on how the story was going to go.
- We then started the writing of the script with regular updates throughout the week about its progression until the third meeting where we went through the entire script until we all agreed on something we were all happy with. We also discussed the locations to use for each scene and went on to do a recce that same week of the many potential locations  we could use.

MARCH:
- After the recce was done, we had planned to start shooting on the 11th March with the 28th as the first day of editing but had to cancel due to unavailability. We moved the shooting dates to the 23rd and 24th for both locations (one date in Portsmouth, the other in London for the opening scene) but had to cancel again. We then agreed on a day that works for all of us and ended up shooting on the 31st in London for the opening scene of the film after having had a meeting the day prior to discuss our plan.

APRIL:
- The London scenes were filmed within two days and we finished them on the 1st April. We then had a week break as we all had other responsibilities that week until the 14th where we had a meeting to discuss our plan for our last day of shoot on the 15th in Portsmouth for all remaining scenes not shot in London.
After successfully finishing the production of the film, we then moved on to the editing of the film for which we give ourselves five days to achieve.

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written by Levi B. Maba
story by Marcus Watson Boateng & Levi B. Maba