5

5.1 - REVIEW AND CRITIQUE A SHORT FILM PRODUCTION

Doodlebug [1997]
Director: Christopher Nolan
Starring: Jeremy Theobald
A man runs around his room trying to catch a bug with his shoes. However, as he slowly begins to track down the bug, things take a dramatic turn. Just before Nolan established himself as one of Hollywood's most prized possessions, he made this short while studying English at University in London. 

The plot plays itself out nicely, taking a dramatic twist at the end which is pretty obvious once you see it being set up, however this doesn't serve as too much of a problem as there are only a few seconds between the set up and delivery. In other words, you're not wasting time being led somewhere you have already arrived. It is very much a student film as the premise thinks it is smarter than it actually is; this is just an observation, not so much an attack. The plot places us in a dingy apartment, a guy that looks possibly insane, carries around a shoe whilst a little black figure runs around the room, but who is this man and the little black figure running around? Could Nolan be smartly suggesting that 'the man' hitting the smaller version of himself, be an abstract representation of 'him hurting others, means he's only hurting himself,' or am I just reading too much into this? In terms of the atmosphere - the grainy black and white, dark rooms with bright intrusive light, the 'thing' running around our main character - it does just enough to feel like it is building towards something, for a sure divisive ending for audiences. Love it or hate it, its fun to see, mainly because of what it's director has gone on to do since, and for that reason, this serves as an enjoyable little short.

5.2 - REVIEW AND DISCUSS OWN CHOICE OF: BRITISH FILM PRODUCTIONS AND WORLD FILM PRODUCTIONS.

The Grand Budapest Hotel

Director: Wes Anderson

Starring: Ralph Fiennes, F. Murray Abraham, Edward Norton, Mathieu Amalric, Saoirse Ronan, Adrien Brody, Willem Dafoe, Léa Seydoux, Jeff Goldblum, Jason Schwartzman, Jude Law, Tilda Swinton, Harvey Keitel, Tom Wilkinson, Bill Murray, Owen Wilson, Tony Revolori.

The adventures of Gustave H, a legendary concierge at a famous European hotel between the wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend. The story involves the theft and recovery of a priceless Renaissance painting and the battle for an enormous family fortune, all against the back-drop of a suddenly and dramatically changing Continent.

Wes Anderson returns with a gorgeously bizzare tale of The Grand Budapest Hotel; following the adventures of concierge Gustave H (Fiennes) and lobby boy Zero (Revolori).

Grand is definitely the way to describe Anderson's bizarre thrill ride, with themes of black comedy, many twists, hyperbolic characters and Anderson-esque features, it is engrossing to view.

While the story being inventive and enjoyable, the real achievement here is the creation of Gustave, with the role being brilliantly written. As Gustave, Fiennes is camp, witty, fast and loose with obscenities, but above all, it's performance played with the most endearing genuineness. With that being said, all the supporting actors deliver their eccentric characters beautifully in the running screen time they have. 

Like Anderson's other features, I find it impossible to discuss The Grand Budapest Hotel without mentioning his meticulously designed sets. Anderson treats the hotel as he does his well crafted characters, with much love. From little details like typically quirky patisserie cakes, funicular lifts and period costumes, to the stark contrast of the hotel in its 1930s glory days to the ghastly décor of the 1970s; The hotel is a character as important as any others.

Wes Anderson's 8th feature is an aesthetically pleasing, cinematic joy. It may lack in themes of melancholia used in some of Anderson's best films, but it makes up for in wit and storytelling.

The Grand Budapest Hotel, check in and you won't want to leave.    ★★★★★

3

3.1 - DESCRIBE THE IMPACT OF OWN BEHAVIOUR ON OTHERS. 

There were at times when my behaviour affected my peers around me negatively - although not drastically. This was clear in earlier periods of the course. However these were only small things like talking a lot, which encouraged others to talk more around me - otherwise I believe the impact of my behaviour wasn't a thing to frown upon. During the course, I learned how to balance my behaviour in terms of getting things done efficiently whilst doing my own things like talking to my peers around me. Personally I believe that I tried to maintain a high spirit during the entire course, which helped my peers around me to stay motivated and enjoy the experience more. Also, because of my behaviour, I believe I made several attempts during the early stages of the course to introduce myself and others to the group, expanding the friendships within the group - making new friends. On the second night of the shoot, I had been described as being slightly too 'giddy' however it was this behaviour that drew the attention of the actors/actresses we had hired and from their I had created a rapport with them to make them feel more comfortable on set - I am currently still in contact with one of the actresses and talk to them from time to time.

3.2 - IDENTIFY THE KEY FACTORS FOR EFFECTIVE WORKING RELATIONSHIPS.

I believe communication is the strongest factor in terms of an effective working relationship - for instance, with a director and a cinematographer, the director needs to be able to communicate with their DoP so they can communicate in what visual approach they want to achieve, with good communication, they could even work out an idea together to create something better. You may not even like the person you work with, but to have the ability to get your ideas across or vice versa, it means both parties understand what you are trying to achieve.
The second factor, in the title itself, is relationships. Creating a good relationship with your workers can help promote not only their level of creativity and work, but their spirit, which has many beneficial factors in the workplace. To have a workplace filled with people who don't get along can be challenging as they might find it hard to put their differences aside, and this can affect their work standards.
Finally, I believe cooperation to be one of the main key factors to an effective working relationship. This ties in with the aforementioned factors - to have the ability to cooperate with other workers helps move production along rather than to challenge others opinions and waste time. This also links in with compromise, to meet halfway to achieve something that both parties agree with - again this helps to get things done rather than to slow it down, and sometimes, this can even lead to a better outcome.

3.3 - INTERACT WITH OTHERS TO ENCOURAGE COLLABORATIVE THINKING AND TEAMWORK.

Their were many instances during the planning and practical period to the course where we had to discuss and compromise with each others ideas - believe during these periods, I managed to do these things. Throughout the course, I believe I have displayed a high energy which reflected on to others, I believe that this personal attribution helped, although not solely, encourage others to get to know each other, become friends and get involved more. During the planning phase, I contributed many times with my ideas, which lead to others doing the same thing, I believe my actions of starting things off helped others to follow on and start collaborating ideas for the film/production. I believe my high energy also came into play during the practical side when my enthusiasm helped 'break the ice' for the others to get involved and work as a team - there were times when I collaborated with others during the practical side to help get things done and achieve a goal.

1

1.1 - OUTLINE THE WORKING CULTURE OF THE FILM INDUSTRY.

The working culture of the film industry consists of a vast amount of people in various roles, all working together to keep the production running smoothly.

This is a diagram to show to show the roles all link together within a film production.

The majority of the film industry are freelance workers, this means that most people choose to use agent representatives to manage their work prospects. This includes getting in touch with potential employers, collaborate with their clients and other parties to ensure they're happy - If it were an acting agent, the most obvious role would be to get their client an audition for a role. Each department has a team of workers in a hierarchal structure, obviously the higher you are, the more responsibility you have. The departments will have consist of supporting roles including assistants and runners who communicate between departments to keep the system and communication running smoothly. The image on the right displays how a structure in the directing department would look like. 

Departments working together is key to the production process; for example, costume would have to work with other departments such as hair and makeup as they would have to communicate what look they want to give the 'character:' who they are, where they are, when they are, etc and how all of this may affect how their makeup may look in that moment.

1.2 - IDENTIFY TIME MANAGEMENT SKILLS.

Before we did our film shoot, I underestimated how time would work on a film set. To only produce about 7 minutes of footage, it took us two days of filming, I didn't realise how time consuming it would be - dressing the set, the actors, getting the lighting right, moving all the equipment, setting up sound etc. On the first day, as it was my first time in a real film making environment, my time management was slightly more hectic in comparison with the second day - after the first day, I picked up the idea of how to work around effectively in that environment, I believe I was more effective and in control of time and how I used it. I realised that having good time management is important as it makes the whole production of the film run smoother, it is also economically beneficial towards the budget of the film, as the longer the production of a film runs, the more money is consumed - to pay for the actors, renting out equipment etc and to pay for everyone else's wages/salary.

1.3 - DESCRIBE THE KEY ASPECTS OF HEALTH AND SAFETY WHEN WORKING ON FILM PRODUCTIONS.

There are many contributing factors to health and safety issues on a film set. 
Fatigue - when people have to work long hours and have not had enough sleep, this can cause a strain on them in terms of their productivity - this can also cause stress, and at worse, can lead to other illnesses. To prevent, make sure the work hours and the non-work hours are distributed sensibly. During work hours, give workers breaks to refresh. Those who are required to lift heavy objects as they are at risk of physically straining themselves, or even tripping over equipment such as wires. Lighting can also produce a risk for others as the electrics could harm others if not careful, or the heat produced from the lights can cause other health issues too - can even be long term harm.
On set, if any accidents occur, they should be reported as soon as possible to minimalize any harm, and for legal reasons. First aiders and safety equipment should always be present on set to ensure that any help necessary can be provided - it also helps the movement of equipment, ensuring that it is completed as safely as possible.
All equipment including safety equipment should always be checked regularly incase it is functioning incorrectly, and these checks need to be logged every time.
Risk assessments should always be done before the practical side to filming so that any potential accidents can be identified. Fire safety needs to be acknowledged - where the evacuation points and assembly points are, where safety equipment is, how and where to report a fire/emergency - phones may need to be provided if the signal in the location is poor.
Example of a risk assessment for a film production.

1.4 - IDENTIFY MATERIALS WHICH MAY BE SUBJECT TO COPYRIGHT.

Including things like product brands, music or clips of films in ones film for example, if the use of the product is not granted, the creator can sue the people that use their product. The use of others products without consent breaches the Data Protection Act of 2010.
Materials subject to copyright can include:

- Literary (lyrics, manuscripts, documents, newsletters, articles)
- Dramatic (plays, dances)
- Musical (recordings and scores)
- Artistic (photos, paintings, architecture, technical drawings, maps, logos)
- Published Editions (magazines, articles)
- Sound Recordings
- Films (broadcasts and programmes)

1.5 - EXPLAIN HOW REGULATIONS MAY AFFECT THE USE OF COPYRIGHT MATERIAL.

The main rules and regulations are set out in the Copyright and Patents Act of 1988:
https://www.copyrightservice.co.uk/copyright/uk_law_summary
This law exists in order to protect the intellectual property of the creator, and also to make sure they receive fair credit on both a commercial and moral basis. Production of a film must either gain signed approval or pay for the rights in order to use any copyright materials from the creator or whoever owns the rights to the materials, or wait until copyright is no longer an issue - e.g. 70 years after the work is produced/70 years after the death of the creator. If copyright materials are used without approval, it can place the film production in potential legal trouble.

4

4.1 - IDENTIFY THE RESOURCES NEEDED TO MEET FILM PRODUCTION REQUIREMENTS.

The most obvious requirements needed when undergoing film production are a good story, a director and their entire crew (including cinematographer, lighting, sound, art, costume, makeup department, editor) actors/actresses, equipment (e.g. cameras) and a budget.
In terms of the narrative, it is key to have a strong opening. The first few minutes should captivate your audiences interest as this will set the tone for the rest of the film, and if not done effectively, maintaining the audiences focus throughout the film will be challenging. This can be applied the other way around, a strong ending will leave your audience satisfied, ultimately keeping the film on their mind.

4.2 - IDENTIFY THE TECHNICAL SKILLS AND EQUIPMENT REQUIRED FOR YOUR OWN FILM PRODUCTION ROLE.

Director: Being a director mainly relies on soft skills, good communication and cooperation skills go a long way as a director - the role includes talking to the actors and giving them feedback, or vice versa. Communicating with the other departments, similarly giving them feedback, vice versa. Cooperation skills merge with communication skills also, in a job such as directing a film, other departments giving you ideas can help the quality of the film, like compromise, cooperation requires both participants to acknowledge other ideas and work with them. Fail to hold both these qualities, directing a film may not run as smoothly as it should, especially as a director, the one who 'runs the show,' all departments will be reporting to you and asking for ideas/opinions; the actors will also speak to the directors mainly, and a good rapport between the two parties can determine how good the performance is - the director knows what he wants from the characters, and they need to explain this to the actors. Remember, the performance in a film can be the difference between a good film or a bad film. As a director, technical skills aren't really required to be a good director - they never really do any hands on work. However it is worth knowing how everything works; it's good to familiarise yourself with the equipment; involving yourself in the practical side to filmmaking helps you to understand how each department works, as a director you can then give feedback on how to improve in those areas to achieve what you want - it is also useful as you can communicate with the people in that area and learn more/create a rapport.
Set Design: Being a set designer means you need to have good communication and creativity skills. Communication because you need to talk to the director and understand what visuals they are hoping to achieve, and creativity, for obvious reasons, because you need to help the director achieve what they want aesthetically and design/gather materials and put them together to create the scene, adding more depth and character to the film. As set designer, it is good to have a wide knowledge of creative aspects. For example, if you were working on a historic picture, it would be good to familiarise yourself of the era, knowing what dècor would be featured in the situation. 

4.3 - REVIEW OWN TECHNICAL SKILLS AND USE OF EQUIPMENT.

This role was my first hands on experience in the film industry, before this course, I only knew of the equipment but had never used it myself. Before this course, I was clueless in terms of how to actually use the equipment properly and effectively, but since taking part, I had been taught a wide range of skills including how to actually use a camera, how to direct: manage a team, how to talk to the actors and get them in character, create a rapport with them, making them comfortable on set. I also rectified my communication, cooperation and managerial skills in how I talk to a team, explaining how I envision the film and getting them to bring my plans to life, and also how to direct a team efficiently and effectively. 

4.4 - IDENTIFY SOURCES OF FEEDBACK ON YOUR PERFORMANCE.

Matt Palmer: "Hoi displayed a fantastic energy throughout the course and has shown a great passion for directing. He was always a positive, active force during creative discussions and took on new information very well. On set he was energetic, hardworking and made some excellent creative contributions."

4.5 - DESCRIBE AREAS FOR DEVELOPMENT IN YOUR CURRENT KNOWLEDGE, UNDERSTANDING AND SKILLS.
I believe there are many aspects to the film industry where I need to develop my knowledge in, but the two categories in which I am most interested in are directing and cinematography. I believe I know a respectable amount about both roles, but only to a certain extent. With directing, I believe that more hands on experience in seeing a director at work would give me a better understanding to what other responsibilities a director may have. I believe I could improve my planning skills too, during the planning sessions of making our film, I had a tendency to rush through the work rather than take the time to think things through. With cinematography, I believe I need to also learn more about how to use a camera, especially in terms of using it to achieve an aesthetic desired. Similarly with lighting too, how to use lighting effectively to create a look to cooperate with the event.

2.3, 2.4

2.3 Outline the potential progression routes into the film industry and wider sector.

Apprenticeships, colleges, film schools.
Connections through family/friends to gain experience in the film district.
Knowledge on the law side of film production would be expected that you have a degree in law, but not necessary. You could start as a junior and work your way up in work placements, e.g. as a runner.
Personally I think I will go to University and study a film related degree, in hopes to work my way up after that.

2.4 Outline the relationship between the film industry and wider creative media sector.

The film industry has impacted on the creative media sector in terms of advertisements, music videos, fashion promos etc, the increasing use of films used in the media has created a wide range of job opportunities, also creating a rise a rise in the economic industry. Special effects have also advanced, especially in the last 20 years, which have expanded the opportunities for the media and their intentions - possibility of the narrative in their media.

2.2 - Describe the structure and Interrelationships Between Production Department

Structure and Interrelationships Between Production Department

The relationship is integral. The production department is involved and concerned with the making of the film or the development of the film - they need to provide something that the audience wants. This is where communication plays a vital role - good communication between the departments means that the director can get their ideas across more clearly for other departments to work with in aims to achieve what is envisioned by the director. I.E. the DOP or Set Designers would work closely with the director and would need good communication as they are providing an incredibly important aspect to the film. The director, DOP and set design would need to 
discuss on what look the film is going to have and how they are going to shoot the space, deciding on how they are going to use the cinematography *for example* to create a similar and in sync tone and feel with the set design.
Another example would be between the director, producers, legal & financial and DOP, where any financial, legal and distribution issues would be discussed - these work closely with the director informing them of any kind of budget restrictions that they may have to face or any cut backs that may have to be made on the film. They would also need to communicate with the director and DOP when discussing publicity and distribution of the film because they would need to find a common vision for how the director wants to present the film to the public, through posters and trailers, while also getting a compromise with the studio by finding a way which the film can be sold to the public to make the most amount of money for the studio.

In all example structures of

the production department, the roles are all split into different departments. Each role is also categorized into a structure similar to a hierarchy, at the bottom being the smaller departments like prop, boom, dubbing editor - in comparison with the roles at the top of the structure, e.g. producer, location manager. In all structures however, every job role works closely with the director. The reason being that the director has the overriding control over the whole project, guiding everyone else towards a similar vision / the directors vision. Similarly, in every structure, the director will have a high position, if not, the top position.

Another example of interrelationships within the production department.

2.1 - 5 Major Roles in the Film Industry

Director
A film director is a person who directs the making of a film. Generally, a film director controls a film's artistic and dramatic aspects, and visualises the script while guiding the technical crew and actors in the fulfilment of that vision. Directors tend to have their own distinctive /iconic style where they translate this into their work. Sometimes when a style is successfully established in their work, a film can be instantly recognisable to be belonging to a director. A few directors who each have an iconic style/are notably different in their filmmaking are Christopher Nolan, David Fincher, Quentin Tarantino, Wes Anderson, David O'Russell and Xavier Dolan.

 









Cinematographer
A cinematographer or director of photography (sometimes shortened to DP or DOP) is the chief over the camera crews working on a film, television production or other live action piece and is responsible for achieving artistic and technical decisions related to the image. The cinematographers job is to decide on the films look, what kind of lighting they're going to use and where - what kind of film they are going to shoot - it's down to the cinematographer what is on screen and how it is presented/represented. In recent years, Emmanuel Lubezki has established himself in the field of cinematography. He is known for his distinctive style of long free-flowing shots which help build emotions and momentum to his work.

Producer
A film producer is a person who oversees all aspects of production on a feature film. Some producers take more of an executive role, in that they conceive new ideas and pitch them to production companies, but upon acceptance they focus on business matters, such as budgets and contracts.

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Costume Designer
A costume designer is a person who designs costumes for a film, stage production or television. The role of the costume designer is to create the characters and balance the scenes with texture and colour, whilst portraying the costumes to reflect the time period, location or situation. Milena Canonero serves as a great example. She has successfully adapted her designs so that the characters she works with suit their environment. These range from such films, A Clockwork Orange, Godfather: Part lll and The Grand Budapest Hotel.














Set Designer
Also known as scenography, stage design, scenic design or production design, is the person in charge of the on screen scenery - aesthetics of the scene, what props will be used and placed where. The set designer has a huge influence on the overall look of the film, which can include deciding the colour palette used for the film.
Adam Stockhausen is a prime example of a great set designer. He boasts his art directions extravagantly in Wes Anderson's films, using his decor, props and colour palette to visually tell a story, turning the settings into characters of their own.