Ooooh just in: new location possibilities!





We have a green light on this one (i never trust until we are in the door shooting) but it does look good for this Plymouth location. 

Jake has made contact as of the 16th and we have permission to shoot on a Sunday date to be agreed


Low season : a short synopsis, notes

In my attempt to bring the ideas of the film into an abridged and shortened pitch I began to make notes, here is one of the early attempts. part of the reason was to apply for music rights through Moby gratis where they required a condensed synopsis.

The film follows a man in a seaside town in the winter, it is bleak and run down, the pier is falling down, posters are peeling from the walls reminding us of the glory days. The film behind with a note blowing along the street, we follow the note as it tumbles along. the scene cut abruptly to the inside of a busy cafe steam hissing and the clank of cups.We follow this character from him having a cup of tea in a small cafe, he is writing a note, he looks up sees himself through the window and the camera shifts it is he looking in at an empty seat. We know that he is troubled and cut off from other people. he is dressed impeccably in suit and tie he is in his late 5os and we follow him as he walks along the front to the old pair, various shots intercut with sound suggest the pair in its summer heyday before financial ruin. he ends up on a tiny patch of beach where for a brief time he watches a young boy spas around in the icy water with his ageing dog, whilst his father looks on. They leave huddled against the cold.

Our character walks down onto the beach and very carefully undresses, each item stacked neatly on a pile and finally the note perched on the top the cars settles with the note we see him walk out of focus and into the sea imered he disappears. the note flutters off in the breeze. The camera follows the note as before as it tumbles along the pavement it blows against the leg of a man dressed smartly in the same suit and shoes he stoops and picks up the note fade to black

First notes on potential cast and crew for Low Season

The potential crew for LOW SEASON:

Producer: Jake Bench

Director: Chris Lake

First assistant director: Caroline Morley?

Camera operator/DOP: Rusty

Lighting technician: Aden Barwick?

Sound mixer/recordist/boom operator: Daniel Eastick?

                                                             Dan Smith?

Cast & Extras:

main character: over 40 years, male?

Boy on beach with dog: 12 year old boy (has to be able to get splashing in cold water)?

Dad on beach: 30s-40s ?

Dog!?:  scruffy small dog preferably a bit old Jack Russel or Terrier?


Cafe extras:

Waitress in Cafe: female non actor

Assorted customers in cafe minimum of six individuals needed mixed sex and age.

First production meeting with Jake and crew structure

First production meeting for ‘Low Season’ 6th of December 2016

Chris Lake: Director & Jake Bench: Producer

After Jake offered to produce Low Season, and I shifted all of my focus on this module toward the film, we very quickly set up our first meeting.

Jake has produced several shorts in the past and I have worked with him before on several of my own films. He brings a great deal of expertise knowledge and a zen like unflappable calm to a production. The ability to talk in short form with a fellow film maker is invaluable.

The beginning of the meeting consisted of me putting across a break down of films requirements, locations (yet to be granted permission) Alist of the crew including those on board and those still to contact. And a list of the cast and extras, who and where.

A lot of the discussion revolved around the structure of the crew as well, As I want Caroline Morley as Assistant director, which normally suggests a much larger shoot. In this case It covers a role that is crucial in allowing me to work with the actors and crew in a more creative way. That is of organisation of cast and crew and running orders on the day. In my past experience on my short fade I took on the producers and organiser role for the bigger shoots and essentially tried to do everything, not only is this exhausting it is counterproductive and can lead to micro management of a shoot, This time I really wanted to trust even more in a solid crew structure and release myself from the management of the shoot to concentrate on the films Aesthetic and artistic elements with the ability to stand back a little opportunities that may arise on set can be easier to see and act on.

The crew structure is as follows:

Me: Director

Jake Bench: Producer

Caroline Morley: Assistant director

Rusty: Dop/camera operator

Samuel Johns: camera/lighting assistant

Sound: Daniel Eastick?

Julia Claxon: set designer

Tamzen Howe: transport and hospitality

We also discussed the logistics of locations and getting cast and crew to and from and developed an idea of roughly how many days shooting may be required, the early cautious estimate seems to be 3 days shooting 4th as a pick up day if needed.

The budget of the film is a constraint on all of the emoluments above so some discussion revolved around the potential main budget needs and of course how to meet these. the kick-starter campaign That I am building I obviously a big part of this. and we identified sound recordist from london expenses and possible pay for actor and set design budget.

Factoring in the need for a realistic figure on any crowd funding campaign we came up with the figure of 750 pounds asa a working total to reach for.


Rachel Dobbs lecture

Wed 18th of January: ethics creative property.

Intellectual property

“everything you make can be exploited as a commodity” Mr IP

ALL products of human creativity can be defined as intellectual property.

create tangible commodities

Choosing what to protect as a creative practitioner… When to let it go and when to fight for the right to ownership.

Finding a way to protect and display?

tangible creative properties:

Products tech solutions and inventions: patents design rights

20 years exclusive rights

Smells, names logos brands, combinations colours, sounds etc :brands trademarks (™) NICE Classification

registered under nice class…

potential for legal action.

Music/creative, Literary, films etc: copyright

do not need to register, first ownership rests with the author or co authors (unless an exception concerning employment applies)

related rights for

Orphan works can’t find owner of copyright….

Copyright length =Death of author plus 70 years( sony bono and walt disney fighting to extend for years)

pre-1923 public domain.

Literary work: includes anything written spoken or sung

dramatic work: a work of dance or mime

Sound recording: any recording of sound that can be replayed

Artistic works: stuff you make! film building etc

Broadcast: any electronic transmission of visual image sounds etc


A ‘work’ is not the idea but its expression or the material form that an idea given by an author.

(representation through a union for added protection and follow up)

What can’t be protected: ideas, procedures, methods, recipes, lists of ingredients, systems, processes, ‘ways of doing things’ concepts, principles, discoveries, works that are not fixed in a tangible form of expression (e.g. improvised speech)

consent can be withdrawn at any time (if consent form has been signed)

Recipe: example of what can and can’t be copyrighted written down words and format is copyrighted but not the process or the list of ingredients.

container and written format are able to be copyrighted not the ideas or process, lists etc.

Building brands is a form of working away from and improving the protection of product ” this is the real thing” this is original and solid etc.

Information that is commonly available and contains no originality9 e.g. calendars, measures and rulers….

BUT derivative works from these things are subject to copyright.

How do i make my work safe and copyrighted:

Copyright paternity:

the author has to be named on all copies of the work and when the work is made available to the public.

Copyright integrity:

the right of an author to prevent….

Copyright licensing

-agreement is needed in order to use an authors work

-the right to further transfer copyright to third parties and the right to alter a work must be agreed explicitly otherwise these rights are not transferred.

9need it in writing)

Exemptions: for citation and commission, quotation parody and private study, criticism, news reporting, research, archiving and preservation.

parody: significant changes to the work.

Quotation shorter the better.

news reporting:

Note to self: try and get permission for Bowie track. if not try another track… Old blues? contact Kashi now.

Read only/ read write remix culture.

Is paternity challenged and dying? Are we losing skills to create new works in remix culture?

Creative commons:

CC creative commons, denotes do what you like with as long as you acknowledge the   author

BY by me attributed to me

NC non commerical

SA share alike

Public domain: use texts that are in public domain!

Books, other works early films.

Also look at how Aronofsky managed to byuy the rights to Stoshi Kons work after he died.

True or false

can be sued for using something regardless of if you make a profit. deemed to damage the commercial value of the work and authors moral rights.

Derivitaive works based on or derived from another work 10% change false still need permission.

Fair use exemptions….

Learn how to licence your own work.


David Evans: Appropriation: documents of contemporary art

Meme what is it Richard Dawkins talk on it

Andy Warhol soup can gets around copyright because he had the paintings or illustrations drawn, of the soup cans and they are not cans they are pictures,

again it is the picture that sine w and not the idea of the image reproduced it is not a photo either and was drawn from memory new

Everything is a remix web series

pro comer for a claim on an infringement of your work. send it to the person who has used work and ask them to take it down or credit you.