PLANNING & PRODUCTION
PRODUCTION COLOUR PALETTE
CASTING CALL POSTER
I designed the logo in Photoshop, inspired by a mix of 80s graphic design and the graphics of the Graham Norton Show. I wanted it to look modern for its time, retaining a slightly dated look.
I tried to keep the casting call poster inline with this style, only I changed the colours to neons instead of pastels. I thought it would be very reminiscent of the 80s to experiment with controversial colour combinations.
The script started off as a 12 page draft, which was slightly too long to make in the timeframe of the FMP. The film was originally going to start in the live episode broadcast in which the main character - Clarence Waltz - is planning to expose the corruption within the network. The audience views this as the real TV programme within its world, but through the interview the film switches to flashbacks, which work through the last 24 hours - the lead up to the interview which the audience is watching now, in the present. The film length however did have to be shortened down in order to meet the deadline, which lead to a change of structure. The new plot structure left a lot more questions about the full story unanswered, and focussed on the few minutes before the episode's broadcast in real time, when the network producer storms
on set and threatens Anthony Wasco and Clarence Waltz until he finally pulls a gun out of his blazer and points it at them. The audience sees all of this unfold on set from the point of view of the real studio cameras which are preparing to broadcast the live show. A tussle occurs off camera, a gunshot sounds, and Clarence Waltz backs away back onto camera, holding the gun. They are warned that they are about to go live, they get into position and the film ends as the live broadcast on the interview begins, just after everything has kicked off, off-camera as we have just seen. This would have been a much simpler idea to execute, but was still too much to complete to the high standard I would be happy with with the lack of budget and time available.
I started to film the first scenes, but the space I was going to use ended up getting re-prioritised, and the footage I got did not end up to the standard I was hoping for, so I quickly rethought what the final production was going to look like.
I wanted to explore the feeling of confusion around differing realities and timelines, and although taking the direct narrative out of it was a significant thing to do, it was necessary to in order to still create something to a high standard. I took two full days to shoot some improvised footage with some props I took photographs with as part of the initial exploratory preproduction.
I next spent three full days editing the footage I had got. By the second rough cut the story started to cobble together, and by the third rough cut I was happy with the audio, the visuals, treatment and the structure. The third rough cut is below.
I decided to take the same concept of communication through media and technology and make something shorter and more experimental instead. This change of plan meant that I could still keep the pre-production and the research because it was still based around the same fundamental concept.
THIRD ROUGH CUT
The film started with Lady Gaga's 'Just Dance' reverbed in the background, including an homage to the music video in the first shot. Then the music cut to a reverbed bars and tone sound effect with a shot of the TV in the middle of the car park displaying white noise. This then switches the background music to 'Vienna' by Ultravox, also reverbed, to make it sound as though it is playing in the car park. I put one of my poems I wrote into an automated voice generator and also layered this into the background audio. I felt like this added to the chaotic atmosphere which I was trying to create. It also helped to get across the concept of differing perceptions and messages which a lot of my research and context was based around. The poem was also based around this topic, and conflicted with the volume of Vienna, so helped to keep in line with the theme.
My next steps to develop this into the final cut are as follows:
• Create beginning title in Photoshop and edit into timeline (including possible freeze frame)
• Create final credits inline with the design of the titles; edit into the timeline
• Either take out very final scene, or insert the pink footage shown on TV in tiny flashes throughout the film, to give it more meaning to the audience when it comes up on the TV at the end. This is always going to be completely experimental, random and open to interpretation, but it at least needs to make sense and hold together within its own world.
FINALISATIONS I MADE TO DEVELOP IT INTO THE FINAL CUT:
1. Added in the title graphic at the end
2. Added in the credit graphic at the end
3. Re-edited these graphics into the TV screen