Entry #8

Feb 25

Today we looked over the possible locations we will use for the film. Andy and I scouted for locations. We looked for alleyways in Happy Valley. We chose Happy Valley for practicality reasons; there were many alleyways, and since I live there, we can put all of the equipment at my home to ensure that we don't lose anything, and at least have a convenient rendezvous. 

There were many possible locations, but the general flaws with most of them was that there were too many passerby, or lighting was insufficient, or we did not have enough room to move the camera and get the shots we want in certain angles.

But there was one that, as a general consensus, deemed best. It is by Ventris Road and Broadwood Road. It is an alleyway behind a school. It is long with two lights on both ends. Since low key lighting is used for Film Noir, and a single light source, we thought we were very lucky in finding this location. And since it is behind a school, it would be empty. And there was enough room too. 

Today was mainly acting out the scene with Andy and Medora while Bernice continued working on the storyboard. It was the same dynamic; Andy and Medora would act it out, occasionally I would stop them if something was off. The main thing I should help them with is understanding the character, and eventually they will get it right. We are filming this Friday, so it gives them a few days to prepare. 

Most of the time I'm repeating one word phrases. For Andy, I'd say "darker" or "slower" or "more frustrated", etc. For Medora, it would usually be (vulgarly said) "sexier" or "deeper" or, again, "darker". Unless I have to be I avoid being specific. It's because I don't want to make them think too much, after all, the acting part of the film is not the greatest importance. But like I said before, the acting may distract the audience from the cinematic experience, which is why I'm very picky. 

I also want them to actually think like actors. I don't want to be too specific so that they can use their own imagination and ideas in the character. It also would result in a more natural performance, which is the best thing that could happen.

But there are some cases where I have to be very clear on their expressions and tone. Subtleties and nuances can make the difference. For example, for Andy, I tell him to experiment with sighing as that is an effective dramatic effect, as well as some pauses in his first person narrative. I also give both actors the possible history and background of their characters. For example, Andy's character, I tell him, is sad and frustrated at the world and he's trying not to care, but he is constantly reminded by what he has done years ago. For Medora, she is trying to not lose her cool and kill Andy immediately, but at the same time, part of her falls for him a little, and she is conflicted with fighting this temptation; a murderer or a lover?

I feel that Andy and Medora do understand their characters at the end of today's session. All they need to do is memorize their lines for Friday. 

*Side Note

For the main theme of the film we went ahead and used Greensleeves with vocals provided by Christie Chan. Greensleeves was written in the 15th century before copyright laws applied, therefore we were allowed to use its melody. Christie's voice has the timbre and crispness that benefits the film very well. Credits to our sound director, Medora.

Today I was an IB learner because: 

Thinker: Exercised initiative in applying thinking skills critically and creatively to recognize complex problems, and make reasoned decisions. I demonstrated that through giving Andy and Medora acting notes. 

Caring: Showed empathy and compassion and respect towards the needs and feelings of others. I was not overly critical in coaching Andy and Medora.

Communicator: Understood and expressed ideas and information confidently and creatively. I worked willingly and in collaboration with others while helping Andy and Medora. I expressed my ideas clearly when needed while leaving room for their own ideas and imagination.