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Sony PXW-FS7 camera kit (lenses included)

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Below is a list of the kit required to shoot with my vision:

• Sony PXW-FS7 camera kit (featuring: camera body, grip remote control, viewfinder & rail, XDCA extension unit, vocas baseplate & quick release plate, follow focus & marking ring, metabones lens adapter & case, IDX battery charger, 2x 128GB Sony XQD card 400MB/s, XQB/SD card reader, tripod head, tripod legs, matte box, 15mm rails, CamRade wetsuit rain cover & case).

• Samyang prime lens T1.5 50MM AS UMC II (included in the camera kit)

• Samyang prime lens T1.5 85MM AS IF UMC II (included in the camera kit)

• Wally dolly complete kit

• Ikan 2 LED light panel kit (containing: 2x Ikan LED light panels, 2x elbow joints, 2x Figure 8 cables, 2x power adapters, battery charger, battery charger power supply)

• ARRI 300 Lighting Kit (containing: 3x ARRI 300 watt lamp, 3x lighting stand, four way extension cable, circuit breaker plug, heat resistant gloves)

• Mixed coloured gel kit

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Original poster for 'A Love Song' (2022)

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Upon reading the script I was immediately reminded of the film 'A Love Song' which was directed by Max Walker-Silverman with cinematography by Alfonso Herrera.

The plot is extremely similar to what we see in the given scene from Remains of the Day as it shows two very old friends reconnecting to try and pursue a last chance at romance.

The visual style of the film contains a lot of vibrant colours and uses a lot of film grain to give the film a really classic and nostalgic feel. This suits the film's theme of rekindling old flames perfectly and this is a theme is prevalent in our scene as well. These visual elements coupled with still camera positioning make each frame feel like some sort of beautiful painting that's capturing these moments of reconnection. The non-movement of actors and slow pacing really gives the actors a chance to shine and the slow build-up to their meeting makes for an engrossing watch.

This film's cinematography definitely had a lot of influence in my chosen style as I found it extremely effective at nailing the tone that our scene is also going for.

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To me the tone of this scene seems comforting and nostalgic but with an underlying layer of melancholic regret.

Mr. Stevens seems content in his attempts at rekindling a friendship with Miss Kenton and they are certainly enjoying each other's company. However, he definitely feels an underlying layer of regret that he spent his life so tightly focused on his work rather than exploring what could have been with her.

This scene is crucial to the plot as it's where he seems to finally make this realization.

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Before deciding on my approach to this scene I did some research about the text.

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Original book cover for 'The Remains of the Day' (1989)

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I read the original novel that the script is based on: "The Remains of the Day" written by Kazuo Ishiguro and published in 1989.

I found it to be a captivating read and informed a lot of my ideas on how I wanted the film to look.

The novel contains poignant messaging about class conditioning under capitalism and how the lives of the working class lack fulfillment as a result of forced subservience. Stevens is constantly held back from taking a chance on a relationship with Miss Kenton as a result of his responsibilities and professionalism that has been drilled into him over a lifetime of servitude.

The story unfolds through a series of flashbacks to life at Darlington Hall which Stevens reflects on as happy memories at first, however, throughout the novel, Ishiguro very subtly raises the level of doubt and regret expressed by the protagonist to paint a fuller picture of the deep sadness that emerges from the realization of his wasted life.

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Ishiguro winning the Booker Prize for 'The Remains of the Day' in 1989

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Looking into the original author, it seems 'The Remains of the Day' was the novel that propelled Kazuo Ishiguro into notoriety. According to Britannica, he became one of the best known European novelists shortly after its publication in 1989.

In 2017, he won the Nobel Prize for literature for his works that “uncovered the abyss beneath our illusory sense of connection with the world.” This idea present in all of his works is something I'd like to carry forward into my vision for the cinematography.

The cultural relevance of the original novel cannot be understated so I think it is vitally important to carry over as much thematic elements from the original text as possible.

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Emma Thompson and Anthony Hopkins in 'The Remains of the Day' (1993)

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I watched the original 1993 film 'The Remains of the Day' directed by James Ivory with cinematography by Tony Pierce-Roberts.

In this film, a classic approach is used to make the flashbacks feel more like a traditional period piece and this gives Mr. Stevens' flashbacks a sense of nostalgia. It's clear that Pierce-Roberts recognized the need to portray a sense of melancholic nostalgia to the flashback scenes through the cinematography and that's something I definitely want to carry forward.

The two main characters mostly wear dark clothing and are surrounded by shadows in order to portray emptiness. Whilst their luxurious surroundings are often shown in bright, block colours, Mr. Stevens and Miss Kenton are presented in dark colours that contrast the wealth and luxury afforded to their employers.

It's shot using a wide angle lens in order to make the characters feel swamped by their surroundings and it certainly does a good job of making Mr. Stevens feel small in comparison to the extravagance around him and the major events taking place.

Whilst I enjoyed a lot of these elements I think a more modern interpretation should take a different approach, as this grounding sense of oppressive realism fails to acknowledge the lunacy of the hierarchies present in the film. I believe this to be an aspect that modern audiences would be more likely to connect with and there are other examples of modern British period films who have successfully opted for a style similar to mine.

In researching this film I came to the conclusion that I wanted to use a lot more vibrancy and saturation within this film's colour palette and I also wanted to make my shots tighter to the characters to show a physical closeness between them but a psychological distance with more narrow framing.

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Above you can see my original notes upon seeing the script.

In reading the script for the first time I noted how, despite their physical closeness, the two characters still felt and acted quite distant. I really wanted to highlight this contrast with my cinematography and highlight the physicality inherent in the script.

I made an assumption that the scene takes place on a pier at the seaside, as the script references lights and alludes to the presence of other people (doesn't state how many people however).

I noticed how the dialogue seems to take place in the middle of a long conversation, meaning the characters must have spent considerable time together beforehand. I felt reminiscence to be a recurring motif throughout the scene and I was made to feel like this reminiscence lent itself to tragic regret more often than not. This was my main takeaway from the script, that, despite the comfort found in their inherent relatability, their conversation often reverted to their regrets and mistakes.

In reading the script further it became apparent that this scene was devised in order to feel like an emotional climax as it's obvious this is the scene where Mr. Stevens comes to realise the mistake he's made with his life. After I initially noticed his quietness in contrast to Miss Kenton, this becomes clear in the final line of the script.

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There are a few clarifications I'd like regarding the script:

• What time of day is the scene? It mentions evening but I'm still unsure what time of evening. Is it at sunset or is it already dark?

• What time of year does the scene take place? As this will effect some slight changes regarding colour palette.

• What time period is the scene set? The original text places this scene in the year 1958, but is this intended to be changed for the remake?

• Lastly, I'd like some more details regarding setting. Is it a busy pier on the seaside? Or is the setting more intimate?

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There are some slight alterations to the script I'd like to make alongside some more specific requests:

• I would like to set this scene during the same year as the original, in 1958, and have such planned my cinematography around that fact.

• I'd like the scene to be set specifically at sunset as this pairs well with my vision for colour choices and I also think it represents the sentiment of the scene quite well. The setting sun being a visual metaphor for Stevens' missed opportunity to be with Miss Kenton.

• I'd also like longer pauses in between dialogue to allow the audience to soak in the cinematography in order to heighten an emotional response.

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Cinematography moodboard for 'The Remains of the Day' remake

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This mood board contains images related to both the specific scene as well as my vision for the rest of the film.

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My chosen style exhibits much of the "modern period piece" however with camera movements and techniques that focus more closely on characters rather than set dressing.

My intention is to use a visual style that employs vibrant, saturated colours in order to give the scene a sense of comfort that these two characters find in each other despite their tragic detachment. I want to also employ heavy film grain in conjunction with this, alongside fixed composition that would see characters staying still within the frame. Even when they have to walk, the camera movement will match their movements making them appear as if they are frozen in time. My intention in combining these elements is to make each frame seem like a traditional fine art painting giving the film a truly classic feel and heightening feelings of nostalgia felt by the characters.

The light from the sunset will provide a beautifully warm orange glow but after fading the scene will appear cold with only the vibrant neon lights to light the character's faces. I intend to use a subtle lens flare to add to the depth of the scene and enhance the beauty of such a pitch-perfect frame.

I want to use a narrow lens for this scene in particular to try and pack in as much emotional expression as possible because I do feel that this scene works perfectly as the emotional climax of the film.

I intend to fill most of the frame with characters' faces using a lot of close-ups, but I still maintain this classic feel and to achieve this I'll be opting for a 1.66:1 aspect ratio with a fixed camera for some shots and only very slow dolly movements that feel naturalistic and relative to the scenographic space. I feel that these decisions will truly allow for our actors to display the heartbreaking sense of regret that is a huge element of this scene.

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My vision for a modern remake of 'The Remains of the Day' exhibits many aspects of the modern period piece, a new wave of British filmmaking that seems to be emerging over the past few years. These films often present a more critical view of the time period which I think is extremely apt considering the message of the original novel.
Such films are listed below:

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Emma is a 2020 film directed by Autumn de Wilde featuring cinematography by Chris Blauvelt.

It exhibits many aspects of the style described above and features characters and settings adorned in bright, block colours creating saturated images that poke fun at the lunacy of its excessively rich subjects.

Whilst these elements are used for comedy, which I would certainly tone some of them down to suit a more serious text such as this, I believe this new vision for period pieces that offer a more critical view of the past to be refreshingly original and we would do well to take inspiration from it.

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Original poster for The Electrical Life of Louis Wain (2020)

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The Electrical Life of Louis Wain (2020)

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The Electrical Life of Louis Wain (2020)

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The Electrical Life of Louis Wain is a 2020 film directed by Will Sharpe with cinematography by Erik Wilson.

It's particularly interesting within this context as it's a biopic about a famous painter that uses its cinematography to emulate the fine art medium. It uses a lot of lens flares throughout various scenes that I would like to use in my cinematography as well as they add to this effect and create an image that feels layered.

It uses a 4:3 aspect ratio with a lot of vibrant colours paired with soft lighting and carefully constructed composition in order to emulate the same qualities of fine art that I want to bring out in my cinematography.

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Little Woman is a 2019 film directed by Greta Gerwig with cinematography by Yorick Le Saux.

The film uses a contrast in look to differentiate scenes in the past and the present with scenes in the past having a more warm and vibrant look than those in the present. The retelling of the past evokes feelings of nostalgia similar to the comforts found between Mr Stevens and Miss Kenton in 'The Remains of the Day.'

The film also uses a lot of natural golden light to great effect (as seen below) which is similar to my vision for the interaction between Mr Stevens and Miss Kenton.

The orange glow on the second image below is indicative of the look I'd try to achieve during our characters' conversation in this scene.

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Spencer is a 2021 film by Pablo Lorrain with cinematography by Claire Mathon which tells the harrowing tale of the mental health of princess Diana.

It uses a lot of elements of fine art to represent the time period in a way that looks classic. The film uses aesthetically appropriate grainy images paired with vibrant costuming of Diana in order to endear us to the character. Whilst I would take this vibrancy and apply it to the whole film, it's use in costuming should definitely be considered.

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A growing number of films seem to embracing the bold colour choices and emphasis on stilted composition that makes each frame feel like a painting. This style was most notably popularized by films by Wes Anderson and his cinematographer Robert Yeoman which I have also taken inspiration from.
Examples are listed below:

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Original poster for Bottle Rocket (1996)

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Bottle Rocket was Wes Anderson's first feature film and there's a lot that stands out about Robert Yeoman's cinematography here.

The warm, vibrant colours create a wondrously child-like world inhabited by the film's naive characters and the film has a grainy look that I'd like to emulate.

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Original poster for Moonrise Kingdom (2012)

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Moonrise Kingdom features scenes with heavy saturation of colour as it attempts to evoke feelings of nostalgia for childhood within its audience.

It uses very rigid composition in conjunction with these elements to make each frame feel like a painting: "I doubt there’s a single frame in the entire movie that couldn’t function as a standalone work of art."

I've taken a lot of inspiration from this film and these core ideas in my vision for this scene.

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Original poster for The Grand Budapest Hotel (2014)

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The Grand Budapest Hotel features a very grandeur setting that is emphasised by rich block colours. It uses a narrow 1.37:1 aspect ratio in it's portrayal of the 1930s which really gave the film a classic retro feel alongside the rich pinks and purples that adorn the mise-en-scene.

In particular I really like the below shot of the character "Agatha" and the way the light reflects off of her face to connote warmth and love. This is similar to how I want to use glowing sunset in my scene.

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I'll be shooting Mr. Stevens and Miss Kenton walking from behind in a medium shot at the start of the scene, with a slow dolly forward matching the speed of their movements. This will keep our characters in full view of the audience whilst also establishing the setting of the pier.

As we cut to a camera position in front of the actors I'll be employing a close-up of each character, cutting between the shots as the conversation develops. This will show the psychological distance between the characters despite their physical closeness.

After the characters sit alongside each other I'd use a medium close-up with both characters filling the frame lit by the golden glow of the sunset. The closeness and physicality here implies the existence of feelings between Mr. Stevens and Miss Kenton, adding to the sense of heartbreaking regret felt by both characters.

I'd end the scene with some medium wide shots of the pier, now lit by the vibrant neon lights after the setting of the sun which will occur just after the slow delivery of Steven's final line - completing my visual metaphor.

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I would be using a contrast of lighting within this scene to create a visual metaphor that links in to the original messaging of Kazuo Ishiguro's novel.

I'd like to have my two characters' faces lit by a golden orange sunset which lends to their reminiscing and comfort in each other's company. After the sun sets, it's replaced by the vibrant neon of the pier lights that shine onto the characters' faces. If the surrounding light features on set aren't enough I would use an LED panel light in order to reflect these colours off of the characters' faces.

The sunset acts a visual metaphor for what could have been and after it's set it is replaced by the vibrant neon lights of advertising boards along the pier which serve as a reminder of the capital that has oppressed these characters and made their relationship seem unfeasible.

We'd have to use quite a high ISO in order to achieve these shots however this would be fine as a grainy image is part of my intention for the film anyways.

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I would use both a 50mm lens and 85mm lens to shoot this scene.

I would use the 50mm to shoot Mr. Stevens and Miss Kenton walking together as this would establish the setting. I would also use this lens to show the lights on the pier for the same reason.

I'd use the 85mm to hone in on our characters for the close-ups of them sat together, using a narrow lens in order to focus on their facial expressions and heighten their emotions of regret.

Examples of these types of lenses are seen above and below however these are not the exact ones I'd use, see 'Technical Specs' section for more information.

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Samyang prime lens T1.5 85MM AS IF UMC II

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Linked above is a breakdown of the cost estimate for the equipment for a day's shooting with my intended vision.

The total cost estimate per day comes in at around £551.50 per day.

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Remains of the Day scene kit cost estimate

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For camera setup the settings need to be:

Base Settings
• Shooting mode: CineEI
• Colour space: SGamu3C
• Scan mode: Normal

• Recording format: 1920 25p
• Codec: XAVC-1

Monitor LUT
• Category: LUT
• LUT select: P1
• SDI & Internal: MLUT OFF
• SDI2/HDMI/Viewfinder: MLUT ON

• Shutter: 1/50th

Ensuring to format the card at the start of shooting each day ONLY if the previous days rushes have been downloaded.

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The Fighting Temeraire by J. M. W. Turner

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I took inspiration for my vision from a number of J. M. W. Turner paintings who was an artist famed for his ability to bring life and beauty to maritime settings often seen as ugly by the same aristocratic society that looks down upon people like Mr. Stevens.

This was my main reason for researching his works as this is a setting we will be using. With this painting in particular, I love the way the sun reflects of the textured yet shimmering waves.

I was also drawn to paintings in other settings that carry over a similar emphasis of beauty in mundane life, something our protagonist Mr. Stevens was so close to finding.

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The textured and glowing landscapes that Turner was able to create is extremely inspiring to my vision of beauty that can be found in ordinary life and something I'd like to emulate. Presenting the scene in this way will help heighten feelings of regret once my visual contrast kicks in and the missed opportunity of Mr. Stevens and Miss Kenton's love kicks in.

In this painting in particular, Turner finds such wonder in the ordinary and seemingly dull life of these people - creating beauty in the simplicity. This earnest manner is something I'd like to emulate in my vision for the cinematography.

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War. The Exile and the Rock Limpet by J. M. W. Turner

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In this painting in particular, the orange glow of the sunset shines through, bursting it's colour across the frame and surrounds the people in the painting in a pulsating comfort despite the troubles they seem to have faced.

I find this to be a truly beautiful sentiment which I want to carry over into this scene of 'The Remains of the Day.'

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Map of Portsmouth and Southsea in England

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The location I've chosen for this scene in particular is South Parade Pier in Southsea, England.

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Photo from location recce in January 2023

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I chose this bench on the pier to be where Mr. Stevens and Miss Kenton sit and reflect on their lives.

I think that the way the sun gleams through behind them will create a truly beautiful image as it bounces off the shimmering waves. This image was taken in early January and the time of the sunset was 4:20pm.

The vast sea in the background would act as a representation of the emptiness in Mr. Stevens' life.

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Photo from location recce in January 2023

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This is the general area where the characters will be walking before sitting down. I imagine a packed pier full of people going about their free time - a concept that would seem alien to our protagonist Mr. Stevens.

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Photo from location recce in January 2023

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I imagine the background to be a hive of activity and light and spectacle that will enhance this also.

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Map of the area nearby South Parade Pier

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There are two car parks near the pier to provide easy access for vehicles carrying crew, actors and equipment.

There is a Co-op supermarket right opposite the pier location to allow for crew members and actors to buy food to sustain themselves if not already provided.

Naturally, the sun looks extremely beautiful this side of Portsmouth so there should be little need for VFX regarding the sunset.

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Photo from location recce in January 2023

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The set would have to be dressed considerably in order to ground it in the time period. A lot of the signs and advertising boards would have to be either cleverly covered up or removed entirely but it is doable.

The set also doesn't feature much of the neon lights I spoke about in my vision for lighting and I feel they could be dressed along this wall which is directly opposite the bench where my characters would be sitting.

Would need to obtain permission and licences for filming as the pier is private property owned by the South Parade trust.

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Photo from location recce in January 2023

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There were some other alternative locations nearby that I looked at. One of them was this sheltered bench that would lend itself greatly to my vision for vibrant colour with its block yellow and lights hanging above.

However, it wasn't as lively as I had envisioned the scene to be and it would be an odd place for the bright neon advertising boards that are so important to my visual metaphor. I also decided I wanted my characters on the pier to further emphasis the fact that, even in such a hub of fun and activity, the characters are still only focused on talking about work.