Final Edit

This is the final edit, which I'm not completely happy with. It feels like there's a lack of story and it's not been told well enough in the space of five minutes. However, overall I'm pleased with the result and I think we all managed to pull it off last minute.

Evaluation and Bibliography - Drama/Documentary

Sheffield Hallam University
Film and Media Production
Drama and Documentary Project Evaluation 

Megan Crawford 22010162 

Word Count: 1901

     The first project module of the second semester was a documentary module in which we had to film on a course trip to Liverpool; which tested our abilities to work with people we hadn't previously worked with before in a restricted time space which required good organisation on behalf of our producer and director - Paul and Chris - who had prepared everything in advance from equipment (Canon XF100 and Nikon D3100) to detailed shot lists we discussed in group meetings prior to the Liverpool residential. My primary role was cinematographer. 

    Our idea was established late on in the process of planning; just a couple of days before we were to pitch it. It revolved initially around The Blue Coat which is a hub for independent creative industries. In our further research, we discovered Michael Phoenix, a man who carves violins by hand in the traditional Stradivari style. Once we decided to focus our attention on him and gained permissions from Michael (eager to participate to advertise his latest project), we all met up regularly to plan; everyone was aware of what was happening and we all contributed equally. 

In terms of problems with filming in Liverpool, when we arrived back in Sheffield, we listened back to the sounds we recorded whilst there and noticed some vital ones were missing. We found out that various groups had similar issues with the zoom microphones so we were unsure if it was the equipment itself or our own doing. Regardless of this, four of us (Paul, Joe, Chris and I) made the decision to return to Liverpool to re-record the lost footage and take even more for a potential longer cut of the documentary to send to festivals if we felt what we had was strong enough. 

For the second project module, we were assigned to make a short drama with the theme "Journey". This is the same theme we had for our first production skills task in Edale so it meant we could apply the camera and sound techniques we learnt in that along with establishing a journey through narrative and character development. In terms of finding a group, I chose to be in a group with people I've work with on projects outside of university and we established an idea early on. However, we were informed that we must be in a group with people we haven't work with yet which was slightly disappointing as I feel as though I have already found people who I share creative interests with. Nonetheless, I understand it is important within the film industry to work with people who you may not share the same style of work. 

The final group we established was made up of Emily, Ryan, Jamie, Thomas, Olivier and I. We also had to change our roles from the documentary project so Emily and I chose to edit both the image and sound together as we live with each other. In comparison to the well planned documentary project, the drama felt like the opposite at the beginning of the process. This was a culmination of us all having to change from our previous ideas and groups and trying to work well together even though we barely knew each other. But ultimately, it was a lack of group meetings, various actors dropping out of filming and us being unable to hire equipment out when needed, which set us back in the editing process, leaving us just a week to put everything together. 

Nonetheless, in the timescale we had left, we worked together efficiently to finish the project on time; an idea which began as a grumpy elderly man whose carer (or granddaughter) visits them regularly since his wife passed away. He hold close to him a bag of marbles that they played with as young children. In a heated argument with his carer, the marbles go missing and he ventures from his house on a quest to find them. The carer follows, realising he has been accidentally dropping them from his pocket the entire time; the last shot being of the two of them holding hands, bridging the gap between the older and younger generation. Unfortunately, due to our bad luck with actors, we had to adapt and mould the idea - because the actress we managed to get hold of is 39 - so we changed it into a mother daughter relationship with a similar theme which works just as well. 

In terms of influences for the documentary project, I was mostly influenced by Of Time and the City (Terence Davies), in particular paying attention to the mood and tone set in the church sequence, with the warmth and colour he created. In finding out that Michael Phoenix works by candlelight when the natural daylight goes, I thought creating a similar look would work well; using no artificial lighting in order to capture him in his natural surroundings in the flicker of the candelight with shadows being cast around the room. Other influences included Stradivari and Me - Secret Knowledge (Katy Homan) and The Archive (Sean Dunne). The Stradivari documentary was useful to me for my independent research on the art of violin making and the history within. The Archive was an influence for me as a look into a more captivating interview set up within a documentary. 

For the drama project, my two main influences were The Piano (Aiden Gibbons) and Up (Pete Doctor, Bob Pierson) because they both create similar moods and narrative that we wanted to achieve. The Piano is a short animation, in which an elderly man shoes his life and memories with his deceased wife through their shared passion for the piano - creating a heartfelt piece for the viewer which what we wanted to achieve  with the elderly man and his love for marbles  and the memories they hold. Up is an influence for the piece due to the main character - helping with both our character and narrative development; especially with bridging the gap between the younger and older generation, the example being the growing relationship between Carl and Russell. We were also influenced by the director Michael Haneke, wanting to create a singular shot of a conversation to fill up the first half of the drama project, in which during the argument between mother and daughter, the audience becomes unaware of her putting the marbles in her pocket. This is influenced in particular by Amour (2012) through Haneke's use of mise-en-scene. 

What worked well the most in the documentary project was the team effort and communication. Even when we arrived back in Sheffield, to a lack of sound - although disappointing - we quickly came to the conclusion of returning. There were no disagreements and after the project was over we all felt deflated and have since agreed to work together on projects outside of university. We have also agreed to work together on putting a longer edit to submit to festivals and another version for Michael Phoenix to use on his website. If I were to improve on an aspect of this project, I would have perhaps chosen a specific focal point of the documentary earlier on. Instead, we spent the time asking about the specific processes within violin making and his project and realised just before we returned to Liverpool and we wanted to focus more on his character and personality which worked out well for us in the final product. 

What worked well the most in the drama project was our ability to come together on a very last minute basis to create footage worth editing and film in the three separate locations in a very short space of time. Therefore, although we had to change the idea along the way, we all adapted to it and worked to the best of our abilities to create something with a sense of the original idea, with only minor disagreements. In retrospect, the organisation could have been improved, however situations and unavoidable obstacles went in our way which could not have been helped, for example, the three or four actresses who dropped out and let us down. In addition, the original marble idea was one I planned before the drama project happened, therefore, it was a project I held close to my heart and had spent much of my own time storyboarding it. In the hurry of changing groups and the rush to put an idea together, I passed this idea on but ended up regretting it slightly. It would have made more sense for me to ask to be director in which case putting my idea forward would mean I would be able to make it the way I planned and have creative control. All in all, it was my own mistake to put the idea forward and not expect it to be changed along the way. Nonetheless, I still plan to make the idea my way in the near future. 

My role in the documentary project was cinematographer. For this role, I looked at my influences to search for a stylistic choice for ours. In addition, once we decided on which cameras we would use, I booked the equipment out prior to the Liverpool residential to familiarise myself with the settings with how I wanted it to look once we got there. I used a YouTube tutorial on the Nikon D3100 as I hadn't previously used it (link is in the blog) which came in handy when filming and saved us some time. Whilst filming, I used the Nikon D3100 for the candlelit shots because I found the grainy quality added warmth, colour and tone to it, whereas the Canon XF100 was used for most of the daylight footage to produce high quality and -if needed- can be changed in post-production. 

My role in the drama project was editor. I attended the majority of the filming to help out (minus the shooting in the house). The editing was left quite las minute because of the delayed filming. However, when It came to editing it and putting the structure together, Emily and I worked well together, providing a rough edit for the tutor within twelve hours and a lack of sleep. Nonetheless, it paid off to put a structure together and meant we had more time to colour correct and create a more experimental soundscape - building up tension by adding up to four atmosphere tracks in the park. A major problem we came across in the editing process was stringing the shots together. As there were no shot lists involved in this project, it meant that not all of the shots followed on from each other the way we planned them to. To resolve this, Emily and I went to Norfolk Park and shot some filler shots to create more of a continuity and avoid confusion for the viewer. Other than that, the editing process went smoothly. A particular influence for the soundscape was the recent Under the Skin (2013); we wanted to build up tension through a combination of distressed sounds of birds as well as the singular note of a harmonica layering over the top, which I think works particularly well in building the narrative.

To conclude, through the project module I have managed to develop my own filmic style along with establishing and improving my knowledge of character and narrative development and I hope to further this in second year. 

BIBLIOGRAPHY 

1. Stradivari and Me - Secret Knowledge (2013) Katy Homan; UK 

2. The Archive (2008); Sean Dunne; USA 

3. Of Time and the City (2008); Terence Davies; UK 

4. Up (2009); Pete Doctor, Bob Pierson; USA 

5. The Piano (2007); Aiden Gibbons; UK 

6. Plastic Bag (2009); Ramin Bahrani; USA 

7. Amour (2012); Michael Haneke; France
8. Under The Skin (2013); Jonathan Glazer; UK

Rough Edit - Perdre La Boule

This is the rough edit of the piece, which I have improved on since the crit session with our tutor. I have taken on board the comments and improved on general aspects of the piece I wasn't happy with. Although there are still parts to tweak, this is the structure of our drama. We still need to work on building tension up through the soundscape as well as adding some grain texture to the entire piece to create more of a filmic look. In addition, I intend to tilt the archway shot and zoom in slightly just to create more of a symmetrical look to it. Of course I also need to add credits and a few finishing touches. Overall, I am happy to hand this in, but not completely happy with the piece as I feel like I haven't been able to push it to the highest standards possible - due to the lack of shot lists and therefore in some cases lack of shots; which is due to some bad organisation on the group as a whole.

Edit Decision List

First Scene - House Scene

Used Shots

House filler shot - Chair.        Extreme Close Up.     19 Seconds. 

House filler shot - Watch.      Close Up.                    13 Seconds.

House filler shot - Photo.       Close Up.                    34 Seconds.

House Conversation T.5.       Wide Shot.                2:56 Seconds.

House Photo - Pip T.3.          Close Up to Pan.          29 Seconds.

House Marble Shot.             Extreme Close Up.        48 Seconds.

Unused Shots

House filler shot - Painting.    Extreme Close Up.    20 Seconds.      Too dark.

House filler shot - Painting.    Medium Shot.            12 Seconds.      Not symmetrical.

House filler shot - Doors.       Medium Shot.            13 Seconds.      Not symmetrical.

House filler shot - Shoes.       Close Up.                   8 Seconds.        Too dark.

House filler shot - Door.       Medium shot.              13 Seconds.      Too much cluttering the frame.

House Conversation T.1        Wide Shot.               4:14 Seconds.     Too long.

House Conversation T.2        Wide Shot.               2:23 Seconds.     Wrong lines.

House Conversation T.3        Wide Shot.               1:09 Seconds.     Wrong lines.

House Conversation T.4        Wide Shot.               2:46 Seconds.     Wrong lines.

House Photo - Pip T.1         Close Up to Pan.         12 Seconds.       Framing Wrong.

House Photo - Pip T.2         Close Up to Pan.         31 Seconds.       Hands Wrong.   

Second Scene - Norfolk Park

Used Shots

Filler - Entrance.               Extreme Close Up.         37 Seconds.         

Filler - Leaf.                      Extreme Close Up.        1:02 Seconds.

Filler - Railing.                 Extreme Close Up.         25 Seconds.

Filler - Tree.                        Medium Shot.              1:25 Seconds.

Eve Walking.                   Wide Shot - Slider.          42 Seconds.    

Eve in Forest.                    Steadycam Spin.             38 Seconds.

Eve Runs Up Hill.             Steadycam Run.            1:04 Seconds.

Archway.                              Wide Shot.                 1:31 Seconds.

Marble Shot 1.                  Extreme Close Up.          15 Seconds.

Marble Shot 2                   Extreme Close Up.          8 Seconds.

Marble Shot 3.                  Extreme Close Up.          7 Seconds.

Marble in Grass.                    Close Up.                   12 Seconds.

Marble on Bench.                  Close Up.                    7 Seconds.

Unused Shots

Filler - Leaf.                    Extreme Close Up.         18 Seconds.        Too shaky.

Filler - Entrance.             Extreme Close Up.          55 Seconds.       Didn't fit in with other shots.

Filler - Door Knob.         Extreme Close Up.          32 Seconds.       Didn't fit in with other shots.

Filler - Leaf T.2.             Extreme Close Up.         1:02 Seconds.      Too much green and no focus.

Filler - Leaves.               Extreme Close Up.           9 Seconds.         Too much green.

Filler - Leaves T.2.         Extreme Close Up.          18 Seconds.        Too shaky.

Filler - Ladybirds.          Extreme Close Up.           20 Seconds.        Didn't fit in with other shots.

Filler - Ladybirds T.2.           Medium.                   19 Seconds.        Too shaky.

Eve's Entrance.                    Wide Shot.                 46 Seconds.        Too dark.

Eve Walking.                       Wide Pan.                 1:03 Seconds.      Didn't fit in with other shots.

Eve's Face T.2.                     Close Up.                  15 Seconds.        Didn't fit in with other shots.

Marble Moving.                    Close Up.                   8 Seconds.         Too shaky.

Marble in Leaves.                 Close Up.                   5 Seconds.         Too shaky.

Marble on Floor T.1.            Medium.                    19 Seconds.        Too shaky.

Marble on Floor T.2.            Close Up.                   5 Seconds.         Too shaky.

Third Scene - Cemetery              

        

Used Shots

Grave-Eve.                     Wide Sliding Shot.         49 Seconds.
Eve - Marble.              Close Up on Hands.          57 Seconds.  
Holding Hands.            Medium Crane Shot.        29 Seconds.      

Unused Shots

Eve Walking.                        Wide.                     1:42 Seconds.         Too dark.
Grave-Marble T.1.              Medium.                    31 Seconds.          Didn't fit in with other shots.
Grave-Marble T.2.              Medium.                    31 Seconds.          Didn't fit in with other shots.
Eve-Marble.                 Close Up on Hand.          46 Seconds.          Not in frame.
Pip Returns Marbles.    Wide Crane Shot.            41 Seconds.          Too shaky.
Pip Marbles T.1.           Wide Side Shot.              38 Seconds.          Too far away.
Pip Marbles T.2.           Wide Side Shot.              34 Seconds.          Too far away.

Working With Actors

In class, we worked with three actors from first year of Performing Arts which was interesting because we could see the different ways our script could be performed. Our constructive criticism included; our script was written like a play as opposed to a film and we had written the names etc down wrong. So in our final draft we needed to make sure the script was in the proper format. Overall though, they loved the idea and one actress in particular was perfect for the role of Pip, so we have secured her for the role.

We have not had much luck in obtaining an elderly actress to act in our drama piece. Unfortunately, none of the acting agencies were much help for our contingency plan after our initial actress decided to no longer participate due to a busy schedule.

Thankfully, our director managed to secure a middle aged actress so we have changed it to her being the mother and still going slightly insane when she loses her marbles. The idea I put forward has completely changed, however, I still think we can make it work and the actress Thomas has secured is looking very promising. She even provided a link to a trailer of the latest film she has acted in, which looks brilliant. So as we now have a (slightly) older actress to play the older person, and we have the younger actress - Daisy - to play her daughter, we can begin to make plans for filming. Hopefully, there will be no other problems along the way.

This is the trailer she sent us for the last short film she participated in.

The only slight issue is that Meriel seems to have a relatively busy schedule too, however, she is very keen to participate so I'm sure we can make it work. We only need to ensure that we can obtain equipment for the days she is available.

Shot Ideas

HOUSE

• A dolly shot beginning on Eve playing with marbles in her hand to her answering the door to Pip and returning to the living room for their argument.
• An extreme close up (perhaps using a steadycam) of the marbles in Eve's hands. Dust can be seen floating in the air.
• The same shot, but with the marbles out of focus and a photo of a man in a frame on the side in focus. (Could be the same shot with a pull focus)
• A close up of a clock ticking.
• A medium shot of their conversation/argument, in which we can see a photo of a youngish man in a frame close to Eve.
• Low angle of Pip putting socks on Eve (or a similar job). Point of view shot. Or vice versa.

PARK

• Long establishing shot of Eve walking away from the camera. The shot is central, on a tripod and shows a line of trees on both sides of Eve. Her entry to Norfolk Park. A marble is at the foreground of the shot. As Eve walks further away, a hand grabs the marble.
• Steadycam, medium shot of her facing the camera as she walks searching for her marbles, looking unnerved, lost and alone.
• Static shot from far away; the audience can see Eve walking down a path; she passes from one side of the frame to the other.
• A steadycam medium shot of Eve in a circular ditch looking panicked. 
• In the same location, a static shot of an extreme close up of a marble as the hand once again picks it up.
• A wide tripod shot of an archway in the park that resembles the doorway. Eve passes through.
• Close up of her sitting on a bench, looking lost and ready to give up. 
• Shot of her walking away. Wide.
• Extreme close up of a marble with the archway in view. The hand picks it up once more.
• Establishing shots of the playpark (movement of a swing), flowers, the basketball park. No one there.

CEMETERY

• Wide shot of Eve walking through the cemetery looking worried.
• Wide shot from behind a tombstone of Eve looking upset. Sliding shot. She notices the bag of marbles in her pocket. It was her the whole time. Discovers there's only one left.
• Establishing pan of the tombstones.
• Extreme close up of daffodils and a line of marbles leading towards Eve. The hand appears for the final time.
• Return to the ticking clock for a few brief seconds?
• Close up of Eve playing with the last marble as Pip's body comes into view.
• Medium shot as Pip passes the lost marbles over to her.
• Crane shot from behind as they hold hands. No dialogue.

Shooting Postponed

Shooting keeps being postponed due to issues with actors unfortunately. We thought we had secured an elderly actress, however, she kept rescheduling and then decided she didn't want to be in it altogether so we all met up to discuss our next plan of action. Our producer Olivier wrote emails to around 10 acting agencies for over 50 year olds who may be interested. We all decided that if we hadn't heard from any of them by Monday we will reform our idea to involve younger people as opposed to the elderly.

In addition, we met for lunch yesterday to discuss when we should film and our producer suggested Easter, however, we have no equipment booked for then so we will need to get permission from our tutor to enable stores to give us equipment.

In hindsight, this project needed more organisation and much more contingency plans as it is beginning to feel like many things that could go wrong have done. However, this isn't affecting the group dynamic. If anything, it is bringing us all together to work even harder on how we can make this work.

Olivier, Emily and I are away for the first week of Easter which isn't helpful, but we are hoping to have everything in place for filming as soon as we get back.

Storyboards

Although my role is the editor, as I put the initial idea forward, I thought it would be beneficial to draw up a few storyboards for the three scenes.

Script Final

   CHARACTER PROFILE

          Eve is a bitter 60 year old widow who is suffering from the
          early stages of dementia

          Pip is Eve's 21 year old granddaughter who is visiting.

          SCENE 1

          INT. LIVING ROOM - DAY.
          Long Shot:

          Eve is sat alone in a living room with two armchairs and a
          portrait of a young man on a table beside her. A small pouch
          sits in her lap. A clock and a daytime television programme
          can be heard throughout. Eve is striking two marbles
          together as she sits facing the television, barefaced. After
          around 10 seconds, Eve is interrupted by a knock on the
          door. Eve stops striking the marbles and sits motionless.
          The knocking continues. Eve places the marbles into the
          pouch, places it on the small table. The knocking continues
          as Eve leaves the room via a frosted glass door behind the
          armchair.
          Camera slides to the left into the hall way:

          Eve enters the frame from the right and walks towards the
          front door.

                              EVE
                    Yes, yes! Coming!

          Eve makes her way to the door, slowly and in obvious pain.

                              EVE
                    Who is it?

                              PIP
                    Open the door Grandma; it's me.

                              EVE
                         (confused)
                    Who?

                              PIP
                    Open the door!

          After a hesitent pause, Eve unlocks the door and opens it.
          Pip walks in and stops in the door frame unable to get past
          Eve.

                              EVE
                         (agressively)
                    What do you want?

                              PIP
                         (sarcastically)
                    The pleasure of your company of
                    course!

                              EVE
                    Come in my feet are throbbing.

          Eve walks back through to the living room followed closely
          by Pip.

          SCENE 2

          INT. LIVING ROOM - DAY.
          camera slides back into the living room and holds the same
          long shot as scene 1:

          Eve sits on the same armchair. Pip helps Eve lift her foot
          onto a stool. Pip kneels and starts to apply a bandage to
          Eve's foot. Eve is seen glancing to and ocassionaly fiddling
          with the pouch of marbles.

                              PIP
                    It's a bit dark in here, do you
                    mind if I put the light on?

          Silence.

                              PIP
                    I'm going to the park later on. The
                    one near Granddad's grave. Do you
                    want to come with me, it's been a
                    while since you've left the house?

          Silence. Eve picks up the bag of marbles and rest it within
          her cupped hands on her lap.

                              PIP
                    How've you been lately anyway? Mum
                    says she can't get in touch with
                    you. You don't answer her calls.

          Silence. Eve fiddles with the marbles. Pip waves towards Eve
          to try and attract her attention.

                              PIP
                         (Louder than usual)
                    Grandma?

          Eve looks at Pip.

                              EVE
                    Your mother should mind her own
                    business and leave me alone like
                    she always has.

                              PIP
                         (upset)
                    Mum has always been there for you.
                    Why are you so harsh on her?

                              EVE
                         (scournfull)
                    All she cares about is getting her
                    hands on my things. That's the only
                    reason she checks up on me. And
                    here you are doing the same thing
                    now!

                              PIP
                         (slightly agitated)
                    Is that really what you think?

          Eve just stares blankly.

                              PIP
                         (annoyed)
                    You know what? I can't be doing
                    with this.

          Pip gets up and turns away from Eve trying to collect her
          thoughts. Eve puts the bag inside her pocket. Pip turns back
          to face Eve.

                              PIP
                    Why are you like this with us? Why
                    do you insist that we're against
                    you?

          Eve turns her head away from Pip.

                              PIP
                         (angrily)
                    Grandma!

          Silence.

          Pip storms out of the room through the frosted glass door to
          leave the house. The front door slams as Pip leaves. Eve
          sits still, barefaced. Eve reaches out to the small table to
          pick up the marbles but they aren't there. Eve turns to face
          the table and her expression turns to panic as she realises
          that the marbles aren't there. Eve clumsily gets out of the
          armchair in a rush and starts fumbling around. Eve reaches
          down the sides of the armchair to find the marbles.

                              EVE
                         (panicked muttering)
                    Oh no! Where are they?

          In the panic, Eve stubles upon a framed photograph of Pip
          which she stares at for a few seconds. Eve groans in fury as
          she believes that Pip has taken her bag of marbles. Eve
          tosses the photograph onto a sofa to the right of the frame.
          CLOSE UP:

          Photograph lands on the sofa as Eve stumbles to the front
          door, putting on her coat and shoes as she goes. Eve opens
          the door and leaves.
          CLOSE UP: ext. outside the house

          Eve leaves the door open and drops a marble as she walks
          away.

         

          SCENE 3

          EXT. PARK - DAY.
          long shot:

          Eve enters the park through the main gate and begins to walk
          down the path with a confused expression.
          CLOSE UPs:

          Eve looks around her as she makes her way down the path. She
          looks at the regular parts of the park; the trees, the
          flowers, the gravel, the swings, fences, the sky.

          As the point of view shots progress, the pace of the editing
          picks up systematically. The length of shot will half every
          second shot. The exposure within these shots will
          progressively become more and exposed untill the shots are
          so over exposed that they become unbearable for the viewer
          (as it is for Eve). The sounds of the park will also become
          increasingly loud and harsh. This all portraying Eve's
          confusion and discomfort.

          During the scene shots of marbles on the ground as they
          being picked up by an anonymous hand.

          SCENE 4

          EXT. CEMETERY - DAY.
          Mid frontal sliding shot:

          Eve is stood infront of a gravestone, motionless and
          expressionless, head tilted down towards the gravestone. Eve
          reaches for her left pocket, pulls out a handkerchief, wipes
          her eyes and blows her nose. As Eve puts the handkerchief
          back into her right pocket. As Eve's hand reaches into her
          pocket, she freezes. Eve slowly pulls out her hand, in her
          hand is the marble pouch. Eve empties the pouch into her
          other hand and one singular marble rolls onto the palm of
          her hand. Eve quickly reaches back into her right pocket,
          there is nothing in it. She pulls the pocket out to reveal a
          hole in the pocket, large enough to fit a marble through.

                              EVE
                         (sniffles)
         

          LONG SHOT FROM THE BACK:

          Footsteps are heard and Pip walks into frame. Eve remains
          silent as Pip shows Eve a handful of marbles that she had
          picked up. Eve and Pip remain silent, motionless and staring
          at the gravestone. Eve reaches out with her hand and gently
          grabs Pips.

                                                             END.

Group Meeting and Pitch

We met this morning as a group before our pitch so everyone understood clearly what  our idea was as it is understandably difficult to communicate fully what everyone's opinions are over the internet. Although it was commented on that the idea didn't seem fully formed, we are all happy that we at least have one. Jamie had a brilliant idea in regard to the editing; by adding some water colour animation once we introduce the loss of the marbles, and the main character finding them, which I think could work brilliantly if we start planning it early on.

Our pitch went alright, however, as Olivier explained my idea, I realised it has slowly been changing. The elderly man has now changed into a woman, there is now an intense scene in which her dementia is showcased and a cemetery has become an ending location which for some reason I find big changes. I'm finding it difficult to let go of the idea. I think because I've spent so long on planning it and I know exactly what I want it to look like in my head, I'm finding it hard to take the changes that are being made as it is an idea very close to my heart. I know it was my own fault for passing the idea on and of course I don't expect people to understand what I want it to look like so I know I will have to detach myself from this project as though it isn't my idea. I'm sure it will all work out.

Our idea was overall received well. The influences I included were Up (2009), The Piano (2007) and Plastic Bag (2009) which provided the group and tutor the mood and tone we would like to achieve with our idea. Here are some screenshots of our presentation: