Charlotte and my part in the short film is finished now and the film has been shot, we just have to wait some time to find out when we can watch it!
I found this stunning image on the Ceremony website of the main character, Eleanor photographed with an infinity mirror effect:
Eleanor, Ceremony
This morning I attended a seminar by Mark Leese, production designer for the 2006 film ‘This is England’. Leese began by discussing script analysis; how you might figure out the setting of a script through character names and clothing descriptions. He explained that when creating the set for a film – particularly within someone’s home – you are building a character, not a room. Decisions about set should be made by considering how the character would dress their own room, and props which are personal to the character should be chosen in order to tell the audience something about that character. Meticulous breakdown and analysis of the script will help you discover what the environment should be. He explains the ability of describing a character through their belongings and actions; how they interact with the space around them and what they would choose to keep in the space around them must be considered. Leese talks to us about repeating camera shots and colour schemes to create an overall sense of style within the film. He mentions the use of dirtier frames when shooting; with the camera looking around objects to slowly build tension. When creating a set, even if the intense detail is to be seen on camera just for a moment, it must still be created to set the scene for the performers. Towards the end of the seminar Leese advised us all to be more enthusiastic, to contribute more, to work hard, be self-motivated, to really want it, to go out, meet people, gain experiences and get our foot in the door.
Ceremony website – crew page screenshot
As part of the film symposium I am taking part in, today I had the chance to attend a lecture by Michael Franklin, a researcher and consultor in marketing and distribution. He explained the importance of social media when generating interest in short films, not only after they have been shot, but during the creation of the film as a way to keep your potential audience interested. Also explaining that the possibilities the internet provides of cancelling out the distributor should not be overlooked – creators can give their audience direct access to their product. He discussed many useful tools for helping new directors utilise the internet such as Nation Builder, Distrify, Kickstarter and Seed&Spark. Thinking about the audience should be part of the process of creating the film and the correct social media should be used to keep them involved – whether it be written, visual or a diary – it must fit the product. When using several forms of social media, they should be intergrated and linked to the different pages. There must be clarity on these webpages. But most of all, you must “be brilliant, take risks, fail fast and iterate”. Although experiencing this lecture will not directly effect my work as a Performance Costume student, it was interesting to gain a better understanding of the processes involved within the film industry for new directors.
Lecture by Michael Franklin
Yesterday afternoon we gave the costume receipts and leftover budget to Mario. We were handing over the costumes when he asked if we were available to go with him to one of the fittings mid-afternoon. Obviously we wanted to go, as it would be another good experience and chance to help out.
Charlotte and I attended a lecture for a different project that afternoon, hoping it would be possible to leave halfway through and go to the fitting. However, the lecturers felt that it was important we did not miss the lecture as it was one of only four in the lecture series. I phoned Mario and apologized as we wouldn’t be able to make the fitting. Although I was annoyed that we couldn’t help him out, it turned out that part of the lecture was important in being able to move onto the next stage of my other project. Later in the afternoon Charlotte received a text mentioning that the fitting went well and we didn’t need to exchange any of the garments for different sizes.
So, yesterday aside, this morning we had the opportunity to attend a lecture presented by Ali Mitchell involving her experience of working as a costume designer within film. She gave us advice on how best to progress and work within in the industry. She told us :
These are some of Ali Mitchell’s costume designs for the short film ‘Cry for Bobo’:
So! Yesterday morning Charlotte and I met to finish our costume sourcing by purchasing the clothing needed for the short film, ‘Ceremony’. We selected two of every piece for the main character’s clothing; one to eventually buy and one in Charlotte’s dress size. Charlotte modelled our planned outfits so we could choose between different styles of pencil skirts and colours of cardigans.
Purchasing items for the film was not one of my usual shopping experiences; I was very aware of the strange look the shop assistant gave us whilst I requested extra bags, asked for the receipts to be handed over rather than mixed in with our purchases and paid with a large wad of notes pulled from a small folder.
Costume for Eleanor getting ready for work
With the majority of costume garments bought, all that we had left to find was a white satin dressing gown, an animal brooch and a brown chunky knit cardigan with large buttons. And the hunt for the perfect cardigan began… We searched through a ridiculous number of shops but could not find the colour and style of cardigan that we needed. The only item close to what we wanted was not ideal, as we would have to replace the buttons and enlarge the buttonholes, but at least we had a backup.
Unideal cardigan backup!
With much persistence we eventually found the exact cardigan we had been searching for, and it was half price – result!
Ideal cardigan!
Next task: find an old fashioned white satin dressing gown. We made our way towards Nicholson Street to begin our charity shop rummage. I asked Charlotte how we were going to do this, as there are charity shops dotted all along the street on both sides of the road. We decided to work our way up all the shops on the left hand side and then back down all of those on the right. We began searching in the first charity shop, doubting that we would have much luck when I spotted a small section of night clothes on the other side of the shop. Sure enough, there was an old fashioned white satin dressing gown in the first shop we looked in. Brilliant!
White satin dressing gown for the ‘Dead Woman’ in the final scene
We began hunting for our last item, an animal brooch, but couldn’t find one that was a reasonable price. Shortly after we received a text from the director, Mario to say he is borrowing a brooch from someone. We stopped shopping and headed home, happy that we had done all we could.
It’s 9am. I meet Charlotte in college to read through the script of the short film we are working on, ‘Ceremony’, noting all items of costume needed and then creating moodboards for each character with research images we have collected. It takes longer than I expect, as we ensure the clothing remains within the desired colour scheme of blues, browns and greens.
First Costume Moodboard for Eleanor in ‘Ceremony’
We head out towards Princes Street to begin window shopping in order to provide the director, Mario with a good idea of the budget needed for costume. We plan to price every possible garment that could be required, knowing that the actors are being asked to help keep costs down by using garments of their own for the shoot if they fit in with the desired look, however, not yet knowing which of the garments these may be. We trawl through shops from 11am till 5pm in a regemented manner (with a break for lunch, of course), constantly reminding ourselves of the items, styles and colours of clothing we need by referring back to the research. Every item we find that is suitable and an appropriate price is documented by taking photographs and noting the price and name of the shop its from. We are almost finished sourcing the costumes when Charlotte receives an email from Mario with details of his actor’s dress sizes, the final list of garments which he needs us to source, concerns over the short amount of time left for us to source costume (two days, as the fittings are on Monday) and a question regarding how serious we are about helping out with the costume. Charlotte isn’t sure how to respond; so I text him back explaining that we are also keen to do our part as quickly as possible, that we have been working on it today and can he name a date for us to meet up and discuss our decisions so we can move on quickly. We are relieved by his reply, he is viewing locations and is available to meet up in two hours time. Mario arrives just after 6 with a member of his film crew. Mario takes us all to the pub to discuss the film over drinks, which is perhaps not the most ideal choice of venue as it is so busy that there are no tables and little standing space. As he goes over which garments the actors are able to provide and which we still need, I show him photos of our sourced garments and he gives feedback on colours to alter whilst Charlotte notes down any changes. Mario seems on edge to find out costings for the pieces he wants, so I give him an estimate and he is instantly relieved by how low we have managed to keep it. I take my notebook out and slyly take a seat at somebody’s table so Charlotte and myself can total the pricings and give him a more accurate number. We are eager to purchase the clothes and accessories tomorrow so Mario gives Charlotte the money we will need. He seems pleased with how quickly we are working and I’m happy we are able to help him out. I finish my drink then Charlotte and I head home around 9pm. It’s been a long day but we have definitely achieved what we hoped to.
Charlotte modelling my favourite finds from today, but the bag is no longer needed and the coat is to be changed to a subtler colour, sad times!
Here are the photographs we took of our sourced clothing which we thought appropriate for all the characters in each scene of the film:
It’s day three and our first meeting with the director is in twenty minutes. Myself and Charlotte are catching up with some design work in the Mac Lab before the day begins. I’m confused as I hear Charlotte on the other side of the room introducing herself to someone. Once we’ve finished our work she explains that she recieved a text from the director to change the location of our meeting, but instead of texting back she felt that this should be confirmed in person. Her reason being that before he sent her said text, she noticed him walk into the lab and sit down at the computer opposite from her and therefore decided against awkwardly replying by text in case he realised that they were only feet apart.
We meet the director shortly after, in a quieter room further along the corridor. The director, Mario introduces himself and begins to describe the vision for his film Ceremony. He pictures a colour scheme reminiscent of Gregory Crewdson with shots which utilise natural daylight. Once he has set the scene in our minds I begin asking my rather long list of questions, hoping this will enable us to provide him with the costume he visualises. At present my only concerns are budget and time, as the shoot is due to take place in just over one week.
The afternoon schedule includes a Masterclass on acting with Gary Lewis, a Scottish actor who has had parts in Billy Elliot and Gangs of New York. I enjoy the friendly and humourous style he presents in, showing film clips highlighted with his personal stories and memories of them. The extent of his research into character background stories and the appreciation he holds for those who enable him to do so is admirable. Hearing him speak so passionately about film making and particularly the pre-production process is fascinating. I leave the lecture theatre feeling absolutely inspired.
An Acting Masterclass by Gary Lewis
Yesterday our three week Symposium began with a morning of presentations given by several fourth year students on their experiences of working in film. This was followed with an afternoon talk by David Cairn about the roles within film and a viewing of his 2001 short film Cry For Bobo. Having expected the Symposium to be aimed towards the large number of Film and Television students, I was relieved to find that the afternoon talk did not assume we all held a vast knowledge of film production. I found David’s stories regarding his eager costume makers for the film especially enjoyable, being a Performance Costume student myself.
So now it’s the second day of Symposium, a chance to begin working with postgraduate Film and Television students on the short films they are directing. They make their pitches to us, all in varying stages of pre-production, noting roles they are yet to fill and which we now have the opportunity to undertake. An interesting variety of film genres are covered, from short documentarys to Japanese Horror, but the pitch which most intrigues me is a gripping, emotional piece titled ‘Ceremony’ following a flat inspector who finds one of their residents dead. Having discussed the potential film role options with Charlotte, a fellow Performance Costume student, we are both keen to involve ourselves in costume design. With our decision made, a tense five minutes later, Charlotte boldly phones the director to offer our help with the costumes on his film. Her phone call is received with surprise and appreciation for making contact and a meeting is arranged for tomorrow.
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