Connor Winfield TV production

Red riding script break down Cast - Eddie - Andrew Garfield - Bill Hadley - bill Nighy - Maurice Jobson - Colin Firth - Barry Gannon - Eddie Redmayne - Bill Molloy - Liam Neeson - Kathryn Tyler - Billie Piper - Police woman - Judi Dench - Mr Kemplay - John Cleese - Mrs Kemplay - Maggie Smith Director of cinematography - Roger Dealing, due to the fact that he has worked on several films that have suspense and action in them and have performed well at the box office. Production designer - Dick Lynn ( The Inbetweeners) Composer - John Williams Editor - Alex Lamb ( EastEnders ) Location Conference room in police station - countryside, so small but still sophisticated. Country road, but with fields on either side so view of road isn't obstructed. Tone I would film. This in a slightly darker tone as the issues that will be dealt with are very negative, so I would want to reflect that in the way the programme look

Love unexpected - https://www.google.co.uk/url?sa=t&source=web&rct=j&url=https://www.youtube.com/watch%3Fv%3DjIA9nHmHdlk&ved=0ahUKEwiBwvKr9-bQAhVhIcAKHddtBDQQ3ywIGzAA&usg=AFQjCNEmEClSOlGMpiSApVdcLQ_h4lAA_w&sig2=Galsq7j4oT8IEjiX_ZI1tg This short film is only just under 4 and a half minutes, but there is enough story set up for it to be engaging for the audience. It follows a teenage boy who h just broken up with his girlfriend, and he is depressed because of it, but finds a secret note in his locker. I had watched this before and it helped me to think of ways that I could make sure enough information was in the story so that it would make sense for the audience, as I was planning on filming the opening two minutes. There is also a twist in this short film which I found very funny, and I wanted to try and add something like that into my short film. The camera work is also majority handheld, which adds to the casualness of the story being set in a high sch

Joss Whedon Joss Whedon is an American writer, director, producer and composer. He has worked on numerous projects, some of which have gone on to be very successful, such as the two Marvel Avengers Assemble films, which he both wrote and directed and together made almost $3 billion. He has also worked on numerous cult classics, being one of the writers and producers for Buffy the Vampire Slayer, which ran for 144 episodes between 1997 and 2003. Joss Whedon has actually given his top 10 tips for writing a screenplay, which was initially published in Channel 4's talent magazine by Catherine Bray. Some examples of these are to cut what you love from the script, as it is sometimes necessary if you are stuck in order to give you some working room, and that scene may be able to be put in again later, and track the mood of your audience, as this will help you to write a better script and connect with the audience more.  (http://dannystack.blogspot.co.uk/2009/01/joss-whedons-

An critical review of the ‘Sherlock’ series 2 episode 'A Scandal in Belgravia’ In this  episode of the popular television series, there are many techniques that I saw were used in order to convey the most emotion, both in the science and the actors. There were some that would be more difficult to shoot than others, but I could see how they could be done. The first technique that I noticed was one that I chose to incorporate into my film, and is when Sherlock is pointing a gun at a bomb at the beginning of the episode (picture) shown in the picture below. his shot as the camera work is carried out very well and helps to elevate the atmosphere of the scene. When the camera is next to Sherlock with his hand and the gun in the shot, the shot does not move, therefore creating an emotional relationship with Sherlock, and is also creating suspense, as we do not know if he is going to pull the trigger. In this episode, there can be seen an instance of Freud's Ego, Super

Decision evaluation During the writing phase, I drew inspiration from the surroundings at my dad’s house, as there is an orchard on one side and a field on the other. This inspired me because I could imagine something happening within the orchard, and no one knowing due to them being well hidden. This was the starting point for my script, so I needed to develop a story from this. The idea of a murder came from the effectiveness of the orchard hiding whoever was in it, so I thought that this was the perfect place for a murderer to commit his crime.   In wanted my story to have a twist, so I thought of a person stumbling across the murder scene, and the killer giving the innocent person a choice of either possible death, or helping with the body and walking away. I thought that this was a good idea as it is a scenario not often seen in films, so was a unique twist. Between the scripts that I wrote for my short film ‘Decision’, I had to change quite a lot in order to make it more engag

Youtube link https://www.youtube.com/watch?v=vc-PPGzdxCw&t=1s

youtube link: https://youtu.be/yhDIA7KlEuE

youtube link: https://youtu.be/tzVUZvJeOg8

Youtube link: https://youtu.be/fOxs0i8r0_Q

Camerawork - How the camera is used in television and film to serve story, character and action - The art of cinematography - The primary grammar of visual story Basic elements of camerawork - The shot - affects our emotional and psychological relationship with characters and setting through composition and speed - Movement - affects our emotional and psychological relationship with characters and setting through changes in visual movement Why use shots? - The basic building blocks of visual grammar - the visual equivalent of sentence structure - If shots are words, mise en scene is meaning ad editing is narrative Basic shots - Wide shot - establishes location, setting and context - Medium shot - character(s) dominant in frame - Close up - face or specific object dominates frame - Extreme close up - selected part of character or object fills the frame. ( Not often used in documentaries, but when it is, used to show emotion) Angle and speed - High angle shot - Dimin

- Plot is what happens - Story is significance of what happens - Don't have 'and then' between plot points. Use 'but', 'therefore' etc. Include big 'buts' - Characters should have twists eg undercover agent who refers gang over officers, bald man with a comb in his pocket - Ending is the target of your story - Character should be built up enough so that the audience can try and predict their actions - Good openings throw up difficult choices and powerful conflicts - 'Psycho' starts as a heist film, but dramatically twists the film into a horror film. Changes genre - 'Tin Men' middle changes the significance of the story - Endings are the biggest 'but' in the film - Audiences love moments, and tend not to notice character and         plot

Film moment I had to think of a moment in a film that was very memorable, like when you watch it at the cinema and you and your friends are talking about it afterwards. this was my choice: https://www.youtube.com/watch?v=lwvAMPTWu6A

- Where you position the camera in a scene is where you place the audience in the scene - Line between characters, camera on arc around them and the shot will work from any position on the arc - Characters stay on screen left or screen right in any shot - Eye line is important - Left character looks right, Right character looks left - Each position change of characters creates a new arc - Can break the rule for certain reasons, e.g. disorientation purposes, such as 'The Shining' red toilet scene

We had our second lecture on screen writing with Steve Coombes, and he focused on Dialogue and Character. He used scenes from 'When Harry met Sally' and 'Full Metal Jacket' , as these films included scenes that were very prominent.  Dialogue - Pulp fiction 'Gold watch scene' - very detailed, keeps the audience   interested - if the dialogue doesn't move the story, change/ cut it - to on the nose dialogue is bad - to formal dialogue is bad - Don't have every character sounding the same. Talk as their character would - Don't get to artistic with dialogue - Shape dialogue to character's personality - Read dialogue out loud, then think of who would play them, the read out loud again - Do't be to grammatical - Don't make it to real - Don't do long speeches unless you can't avoid them - Unless for a good reason, don't give a character more than three        lines of dialogue - Be aware of accents - little touch - So

William Goldman - 'Adventures in the screen trade' 1 hour script - about 12,000 words 30 minute script - about 6,000 words Use more verbs rather than adjectives Logline - a one, or sometimes two, sentence description that reduces the script to its essential dramatic narrative, and crucially contains all the elements necessary for the telling of a good story. Treatment - summary of the story (10 pages) Bible - future story lines (summary of series) 'The Wire'  series 'Fleabag' series 'It's always sunny in Philadelphia' series '6 feet under' series A screenplay doesn't tell story at audience pace, it tells the story at your pace 5 golden rules of screenwriting 1. A screenwriter is like the CIA, you tell the President what they need to know. Your audience is your President 2. Don't tell, show 3. A screenplay is like a joke, setup, distraction and punchline 4. Know your ending 5.Count your moments Screenplay cann

Title: Decision Pitch:  One decision, influenced by fear, changes a man’s life, but for how long? What will be the outcome? Genre: Thriller Two main characters: - Steven, 20 years old, average looking young sociable student. likes to hang out with his friends, as they are adventurous like him. - Killer, 20-24 years old, average build, mysterious. we don't get to know much about him Main location: Orchard with house nearby Change: Steven, in fear for his life, starts to think like the Killer, which he catches himself doing a couple of times, but continues doing it. his personality, for those few minutes, changes due to the circumstances Source material: My dad's house, as he lives in the countryside next to an orchard and a field, so i thought that this would be a good setting for my short film. Story:  A man is walking through an orchard as a short cut, as he is late for the train. As he is walking through the orchard, he hears a few guns

Had my first workshop for some of the cameras yesterday. I was taught about some focusing techniques and was able to try using a boom mic.

Short film idea for ‘The Meeting’ premise Title: Decision A man is walking through an orchard as a short cut, as he is late for the train. As he is walking through the orchard, he hears a few gunshots that sound close. He thinks that this is just the farmer shooting some pheasants or rabbits, so continues walking. As he is walking, he sees something lying underneath some of the trees, so investigates as he walks past. He sees that it is a body, with blood trickling from bullet wounds. The dying man lets out a few last muttered words, and then dies. As the man kneels there in disbelief of what he has just seen, he hears a voice behind him saying, “You shouldn’t have seen this”. As the man slowly turns around to see whom the voice came from, his head is racing, wondering what he is going to do, and what is going to happen to him. The killer stares at the man, and then says, “I’m going to give you a choice”, as he reveals a handgun from his coat. “You can either try to run, or y