Jake has made contact as of the 16th and we have permission to shoot on a Sunday date to be agreed
Jake has made contact as of the 16th and we have permission to shoot on a Sunday date to be agreed
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
Further to my previous email concerning my shift within the current module:
I would like to shift my current focus away from the film process therapy workshop and concentrate on making My film Low season.
Firstly It was never my intention to start the Ma with the film process therapy, I intend on this being a longer term goal over the two years. And I do not want to rush the process, I need to design the workshop, and test it as you said, this element running in conjunction with preparing a campaign for kick-starter, feels like I am rushing all of these elements to fit inside the constrains of one module, which in this case puts potentially damaging time constraints on a complex project.
Secondly, All of my current research is essentially transferrable, Much of the theoretical or philosophical research and reading I have done supports the ‘Low season’ film. These two projects are of course linked not just in theme but in overall concept and form part of a larger series of goals that I have set for myself, i.e. to make a series of films that look at mental health and wellbeing from a modern and lived perspective, to create a body of work, that will potentially also act as a launch pad to further engagement and or research whether in doctoral study as I mentioned, or community engaged work. The workshop constitutes another part of this overall picture which is to reach out and share as well as explore the processes within film making and consider their use and application in positive change.
So My intention had always been to start with Low season the film, and push on from there.
The other reasons are largely practical, by engaging in the film through the module I can not only access resources and equipment, but more importantly engage valuable time in the development and continued process of the film. Time contributes in several other ways, I have as of yesterday found someone who wants to produce the film, they will be leaving the southwest in March. I have of course got to shoot this film before March as the locations are only suitable in the low season!And this would mean I would have to with another year to shoot, bringing me into the last year of the Ma (where I would prefer to be focussing on the launching the workshop)
One of my key locations A cafe currently lies dormant and for sale (For how much longer i don’t know).
The Module provides a valuable shooting deadline, and pushes the kick-starter project into accelerated forward momentum.
Thirdly the film not only feels like a logical fit, but I could shift the kick-starter campaign over easily as I have researched both up until a week ago. My ethical and philosophical research and readings including Godard, Eisenstein Bourdieu etc all fit very closely into the context of the piece.
And finally I am desperate to make! I need to engage all of the other work in the process itself, It involves a lot of new ground for me working with a professional actor shooting with a new crew and technologies, essentially experimenting with new filmic ideas and elements.
Phew! I hope you made it this far Kim! My apologies if this all feels a bit long winded, I just felt so energised when I realised that this I what I need to do!
Let me know what you think I will also contact Rachael and try to sort out a tutorial with her asap.
Thanks for your time and patience.
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?
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?
Waitress in Cafe: female non actor
Assorted customers in cafe minimum of six individuals needed mixed sex and age.
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:
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.
“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:
the author has to be named on all copies of the work and when the work is made available to the public.
the right of an author to prevent….
-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.
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?
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.