Production Photographs

The photograph's some light into how we filmed certain shots, involving the car, and rural roadside location.

Blocking Photographs

Before the day of production we organised a trip to each location to block out certain scenes so that production would flow fluently. We took photographs of the blocking which we used as real life story boards. This exercise made clear which shots were viable and not viable in our chosen locations. 

2000 Word Evaluation - Documentary and Drama

Creative Media Practice Project End of Semester

2000-word Individual Self-Evaluation

Joshua Walker - 23034155

Liverpool Stories Documentary - ‘Das Besucher’ (The Visitor)

There’s been suggestion that a 23 year old Adolf Hitler lived in Liverpool between November 1912 and April 1913. After extensive research, speaking to respected historians and authors, we launched a documentary investigation in attempt to uncover whether Hitler once walked Liverpool’s streets. The documentary explains why alleged claims have been made, exploring both sides of the debate, evenly as possible, presenting the topic openly to the audience. We include evidence from either side of the argument to create a predominately unbiased documentary, allowing the audience to make up their own mind whether Hitler lived in Liverpool. Unlike historians who have previously investigated the claims, they have only looked at documented evidence, however, we interviewed the people of Liverpool, who drink in the alleged same pub as Adolf to call upon their artefacts, photos and memories past down from generations. We weigh the documented evidence against the people’s knowledge to see whether the claim is Liverpudlian folktale or hard fact. Our cinema-graphic influences came from intimate interviews shown in ‘Band of Brothers’. By using low key lighting and effective static mid shots combined with panning close-ups and cut-aways. Also, the stylish and intricate presentation of information in Nick Broomfields: ‘Biggie and Tupac’, was influential in creating a sense of mystery throughout the documentary.   

We had to cancel an interview with a journalist from the Liverpool Echo when Royden changed his interview time at the last minute. If we had more days in Liverpool we would have been able to interview more people. It became apparent whilst editing the footage that we didn’t have enough cutaways which made it hard to transition from some interviews or shots.  We over filmed interviews and the footage we had could have made a 30 minute documentary. We had to sacrifice so much good footage because of the content and attention the story held. We had to sacrifice the establishing shots of Liverpool which were the Liver buildings and the Liverpool docks. However, the time limit worked to our advantage as the finished piece took an ambiguous and artistic direction. Through the first half of the documentary we keep it a secret who the interviewees are talking about, until we finally show archive footage of Adolf Hitler. The name ‘Das Besucher’ is German meaning ‘the visitor’. This title holds ambiguity giving a clue that German origin ties in with the documentary and visitor meaning Adolf Hitler and we the crew visited Liverpool. Besucher almost looks like butcher which relates to Hitler’s massacres. I am happy with the overall piece, we executed what we intended.    

I took the Producer role for the documentary. The group individually researched Liverpool stories and discussed each idea in a meeting. We went with my idea which was the claim that Adolf Hitler once lived in Liverpool. Through research I found historians and authors and arranged to interview them. Such as, Michael Unger who wrote ‘The Hitler’s of Liverpool’ and illustrated memoirs of Adolf’s sister in law Bridget Hitler. Also, we used Mike Royden who is a local historian. We met Unger on ‘Upper Stanhope Street’ where Adolf allegedly lived with his half brother. We met Royden who showed us documentation and his research which enlightened a lot of claims such as Adolf’s nephew William’s birth certificate which shows that Adolf’s half brother Alois lived in Liverpool at the time Adolf allegedly lived there. We planned to interview more authors and historians however some of them like Ian Kershaw (Adolf Hitler Biographer) opted out and other historians such as Frank McDonough requested paying for his time which we couldn’t afford. To solve the lack of interviewees I arranged to film in the Poste-house Pub where Adolf allegedly drank.  I interviewed the interviewees asking scripted questions which provoked key answers. With an effective pre-production plan we captured the footage we planned and filming in Liverpool was a success.

I learnt that a well planned pre-production makes production and post-production run smoother. The interviews in Liverpool were well planned, times were arranged to suit the date of our residential trip to Liverpool. This was because I contacted the interviewees weeks prior to the trip to give more chance that they would be available. I organised a last minute interview with BBC Merseyside where I asked for anyone with information on Hitler’s association with Liverpool to contact me. I weren’t given a time which the phone-in interview was going to take place. Unluckily, I got the call from the radio station whilst we had a meeting with Michael Unger. We planned to film and sound record the interview with me on the phone. However, we were unprepared and couldn’t set up the equipment quick enough. A member of crew filmed half of my interview on the phone but didn’t capture any of the sound. However, the radio station recorded the interview and I managed to get the sound-bite which we edited with half of my filmed interview. I developed my skills of working with a film crew. I had to keep everyone in the know and make sure everyone completed their set tasks and roles in production.

We set up a Facebook group and a message chat so that we could all be in the know through the different stage of production. We could share our inspirations; send images of blocking sessions, locations and production images. This made efficient communication between the group which increased productivity and film development. We arranged meeting with the group throughout the pre-production stage, which discussed any problems or developments in the process. This kept the project on track and all members in the know. Because I was producer and because we used my idea, it was my job to look over every aspect of the process. I was possibly too pushy and demanding to the group members to get work finished as soon as possible so we had more time to amend any problems which may occur. I should have held back more and not got as involved with editing as I made changes to the sound design and visual edit when the editors and I had creative differences. In future I shall listen more to members of the group and try not to get too much involved with the roles of other members.   

Drama Project – ‘Overdose’

‘Overdose’ is a gritty drama following the life of a girl called Amber. She knows that her boyfriend is a successful small-time drug dealer, but with her own career failing to provide she is forced to stay with him and turn a blind eye to his activities. As her personal life becomes increasingly embroiled in his dangerous operations, and menaced by the growing fear of being caught with him, she can no longer distance herself from the criminal lifestyle and must search for an escape. The film takes place from Amber’s point of view within the confines of the house she shares with her boyfriend, the central focus being her growing feelings of fear, anxiety, entrapment and isolation.  The drama takes the spectator on her journey of how she escapes from this dangerous lifestyle. We aimed for the drama to carry a gritty British feel like Shane Meadow’s work such as ‘Dead Man’s Shoes’. Also, a Channel 4 TV series called Run influenced us how to tell the story from Amber’s perspective and use off-screen space, as well as incorporating the theme of the colour blue.  

Overall I’m happy with the finished film. Our first edit came to over 7 minutes. It was a massive struggle to edit the film down to the required time. As a group we decided to remove the scene where Amber packed a suitcase and put it in a car. Also, the scene where Amber finds a phone in the Kitchen and puts it in a box full of money and other phones. We felt these scenes had less importance, I didn’t really make sense because we had to cut out a lot of scenes to make the 7 minute edit anyway. We obviously over filmed and planned a too much detailed film. We over compensated the scenes which we thought would take up 5 minutes actually would make up more like a 15 minute film. We used external actors/actresses which we sourced from the drama course in Sheffield Hallam University. They played their role brilliantly and added to the effect of the film. We used the theme of the colour blue throughout the film. This sets a calm tone throughout the film which juxtaposes the arguments, confrontations and events which take place. The blue colour shown through lighting is emphasised at the beginning and end shot when a blue police light is flashing on Amber’s face who is sat in the car. The represent’s Dean’s arrest and her escape from that lifestyle.

We filmed ‘Overdose’ over 2 days and an extra day a week later for a re-shoot of three scenes. The story was created by our director Jake, he wrote a script and from there our group collaborated ideas of shots and extra scenes for a shot-list. Because we had an initial script at an early stage, this meant pre-production was easy in terms of knowing what we needed for the film. We contacted actors/actresses immediately met up for a run through of the script. After we assigned actors/actresses with their roles we planned dates to film according to their availability. The three locations we used were my parent’s house in Barnsley, a scene on a rural roadside which was Linthwaite Lane and a car scene which was Emily’s (sound recordist) car. The first two days of shooting went well, however 3 scenes were rushed because we ran out of time. We organised a re-shoot and this time successfully captured the scenes. I took the role Cinematographer and was behind the camera for the entire film. I collaborated with the director and designed the shot-list for each scene as well as including inspirations such as Shane Meadows regularly used techniques, pull focus, slow zoom and close-up facial shots.

I have developed my cinematography skills. This is the first project of the year which I have been the camera operator. I researched work by Shane Meadows, Danny Boyle and work produced by Channel 4 to capture that gritty British drama style. I primarily used a shoulder rig for the camera to capture shots; this was a first and found that the shots captured were much more appealing and artistic than a static shot mounted on a tripod. The shots looks more natural from the shoulder rig, I think this is because in real life we perceive objects through our eyes, our bodies and heads are never still but have some movement. The shoulder rig also allowed me to follow moving characters. I have developed my creative skills by creatively turning scripted scenes into storyboards and shot lists. We blocked off each scene days before the shoot at the locations which we could then amend any planned shots which wouldn’t work in the locations we had arranged. This was handy because it made the days of shoot flow more fluently and we knew which shots were going to be film, in which location and from which angle.  

We set up a Facebook group and a message chat so that we could all be in the know through the different stage of production. We could share our inspirations; send images of blocking sessions, locations and production images. This made efficient communication between the group which increased productivity and film development. We arranged meeting with the group and actors throughout the pre-production stage, which discussed any problems or developments in the process. This kept the project on track and all members in the know. Because I was Cinematographer/Camera Operator my roles made my involvement in pre-production and production more significant that post-production. I had little involvement in post-production apart from suggesting any minor changes and footage which could be removed to shorten the long edit. I perhaps should have got more involved in post-production. However I knew that our editors had the film under control.  

Word count: 2,017

Cinematography Inspiration

The cinematography aspect of our film 'overdose' is heavily influenced by a Channel 4 series called 'Run'. In one scene a shot displays a close up of a mothers face, showing her emotions. Whilst in the background you can see two figures run into the room, however the shot stays on the woman's face. However, the sound design accompanies the piece and reinforces that her children are being arrested by police, although the shot is firmly on her. We intended to create this off-screen space in the opening and ending shot when Amber is sat in the car, and Dean get's arrested by police on the outside of the car. The shot will show a close-up of Amber's face with a blue flashing light on her face. Which represents the police flashing lights and sirens.

To watch the episode of Run on 4oD Click Here

Film Treatment - 'Overdose'

Title: ‘Overdose’

Genre: Short contemporary drama

Duration: 5-6 minutes

Main Characters:

Amber – young, Northern English, lower-middle class woman (20-25 Y.O). Been in a relationship and living with boyfriend Dean for 1-2 years. Struggling musician.

Dean – slightly older, Northern English, working class man (25-30 Y.O.) Small-time cocaine dealer paying for Amber’s expenses.

___________________________________________________________________________

Short Synopsis:

Amber knows that her boyfriend is a successful small-time drug dealer, but with her own career failing to provide she is forced to stay with him and turn a blind eye to his activities. As her personal life becomes increasingly embroiled in his dangerous operations, and menaced by the growing fear of being caught with him, she can no longer distance herself from the criminal lifestyle and must search for an escape. 

Narrative Development:

The film mostly takes place from Amber’s point of view within the confines of the house she shares with her boyfriend, the central focus being her growing feelings of fear, anxiety, entrapment and isolation.

At the start of the film we see a shot of Amber’s face, wide-eyed looking out of a car window – the glow of a bright blue light sweeping across her and a blur of indistinguishable movement visible in its reflection. Ambiguous sounds of shouting and sirens build to a crescendo as we cut to Amber and her boyfriend in a car. Thinking she was being driven to her parents’ house, Amber is told they are actually travelling to an unknown location to meet someone as part of an ‘important deal’.

Before they arrive we cut to the past where most of the narrative takes place – a series of elliptical scenes providing context about her situation and leading up to the car journey. We see Amber meet her boyfriend for the first time in a club, we see her being used as a courier as part of his operations, and we see his growing neglect and mental abuse of her as she confronts him about his growing disregard for trying to hide his criminal activities.

Early in the film Amber answers the door to an unknown person who is looking for someone she does not recognise. Later she sees someone looking in through her window and going round the back of her house, and in another scene a man invites himself in to search for something – representing in sequence the gradual intrusion into her own personal life. In one of the final scenes we see the effects of this on her character. She is sitting in the house in silence, alone and terrified of whoever might be coming – her boyfriend, his dangerous associates or the police.

The penultimate scene takes place at dusk. Amber’s boyfriend comes off the phone after speaking with an unknown caller who has given him a remote location to meet him at to deal drugs. He calls Amber down from the bedroom; she has brought her clothes with her thinking she is being taken to her parent’s house. As they enter the car, the story rejoins the first scene of the film and we see them arrive at the remote rural location. Her boyfriend gets out of the car, phones the dealer and looks around for them. As he turns, he sees Amber on the phone inside the car. He walks over to the locked car door and tells her to open it, to which she refuses.

We see a final shot of Amber’s face behind the glass window as her boyfriend tries to open the door, a long take which lasts until a slow fade to black and the end of the film. The sounds of sirens begin to fade up, and the flashing light of the police car flares across the image. We hear her boyfriend shouting as he tries to make his escape. The car door opens and an off-screen police officer asks if her name is Amber. It is revealed that she set up a fake deal with her boyfriend to get him caught, her only way of being able to leave that life behind for good.

Stylistic Choices:

With the story focusing mainly on Amber’s mounting feelings of fear, anxiety and entrapment we will use the stylistic choices in the film, camera-work, set design, sound design and editing to express these themes. The sound design will be particularly prominent, using ambiguous and ambient sounds to mirror Amber’s emotions at certain points in the film – for example when she is alone in the house and in the last shot of the final scene. Music used will be minimal and used sparingly to underscore scenes of little dialogue.

The cinematography will also be thoughtfully composed to emphasise the themes of the film. A rigid, still frame will be used for the majority of the shots to express the idea of entrapment, and elements of mise-en-scene and set design which perform similar functions will be focused on for their connotative meanings. For example, a recurring motif in the film of a blue light will be used to both express Amber’s fear of being caught by the police and to foreshadow the ending scene. To establish her boyfriend’s drug-dealing occupation, some shots will contain related paraphernalia such as scales and ‘baggies’.

To maintain focus on Amber we will frame her boyfriend so as to not reveal his full face throughout the film. We will also avoid using his real name, Dean, and create an ambiguous identity for him by having the other people he meets call him by a number of different street names. We will communicate their relationship through their actions and behaviour; having him touch her thigh in the first scene for example to show both affection and control over her.

With the majority of the film taking place in Amber’s house, the set design and lighting of the location will be important. The house will have little in it besides for some basic furniture and some expensive electrical equipment as an indication of the payout from her boyfriend’s lucrative job. The floor and walls would likely be bare or worn to create an unsettling atmosphere, and most surfaces untidy and containing items relating to his criminal occupation. As a retreat from the business taking place downstairs, the upstairs bedroom would contain personal touches made by Amber, lights around a mirror, small photographs on a wall, a house plant, her instrument etc.

The house interior will have a low quality of light, casting shadows in some parts of the rooms which would mirror the darker themes of the film and express Amber’s feelings of entrapment in her life. This would contrast greatly with the remoteness and greenery of the rural environment at the end of the film, symbolising her freedom having finally escaped her old life.

Concluding Comments:

The film we have proposed fits the brief of ‘Journey’ well in both the literal sense of the car journey at the start and end of the film and the metaphorical sense in the development of Amber’s emotions and feelings throughout the film. Although simplistic in the characters and locations used, the film explores the interesting psychological impact of a relationship with a criminal as well as a number of broader themes such as fear, entrapment and secrets.

'Overdose' - Drama Pitch

Potential Actors/Actresses for Roles

Amber

●     [Chelsie] Amy Rebecca Manly - Blonde - Sheffield

●     [Chelsie] Jess Louise Toyne - Dark Haired - Sheffield

●     Jessica Kate Widdowson – Blonde Hair 18 years old

Dean

●     Scott Thomasson - https://www.facebook.com/The.Scott14

●     Ollie Daly-Smith – 19 years old

Man at door

●     Craig Green – 23 years old

●     Scott Thompson

Overdose - Script

Overdose Script

'Overdose' - Rough Picture Edit

This rough picture edit is 7:19 minutes long. We need to cut the time down to 5 minutes which we'll be discussing as a group. This edit was made to see whether the scenes flow smoothly or whether the structure of the film needs re-evaluating.

First Car Scene - Script

Budget

Re-Shoot Shotlist

SCENES TO SHOOT

●     Running out of house after argument -> SLAM DOOR -> SHOT FROM AT SIDE OF HOUSE

●     Club scene in studio

SCENES TO RE-SHOOT

●     Opening car scene - JESS DIFFERENT COAT -> CAR ON DRIVEWAY -> JESS ENTERS AT START. Has map out or address with phone. REMEMBER HAND ON THIGH AT END

●     End car scene - SLO-MO SHOOT TOO. LOCK CAR AS DEAN WALKS BACK. Dean walks away. Amber looks at phone and behind her Looks up, he’s not there. Knock on the other window. Pan down to see keys. Looks back forward.

●     Entering kitchen - LIGHT FROM BEHIND DOOR. MORE BLUE LIGHT IN KITCHEN. Shot down corridor, walks into it. More shocked + rising anger

EXTRA SCENES TO RE-SHOOT

●     Jess with guitar on bed - TUNING GUITAR -> LOOK UP WHEN HEAR MUSIC -> CUT TO LANDING

●     SLEEPING SCENE - More light + more distressed (shutting eyes, pulling duvet over her)

DIALOGUE

●     OLLIE - Speech in room

●     People in kitchen

SOUND LIST

●     Car engine OR CAR HORN

●     Music downstairs

●     Ollie going upstairs/shutting door

●     House alarm

PROPS

●     High-vis jacket

●     Torch with blue filter

●     Map?

●     Package

Contact Sheet - Production Crew

Contact Sheet - Actors

Release Forms

Original Shotlist

SCENE 1 - Amber in car

1.    MCU - Amber looking out of the car with blue light and movement in reflection

SCENE 2 - Amber and Dean travelling in car

1.    MS - Amber and Dean from behind as the car is moving. Dean reaching into his pocket.

2.    CU - Dean reaching into his pocket and pulling out plastic bag.

3.    MCU - Dean putting the plastic bag on Amber’s lap.

4.    CU - Amber starting to open the bag - see drugs inside.

5.    MCU - Dean putting bag into glovebox

6.    CU - Amber reaction looking at Dean - ‘Where are you taking all that?’

7.    (ALT) CU - Dean’s eyes in the mirror - ‘We’re meeting someone, soon’

8.    MCU - Dean speaking from behind

9.    (ALT) CU - Dean’s mouth from side as speaking

10.  (ALT) CU - Amber looking forward at the end from inside/outside her window

SCENE 3 - Dean and Amber arriving home

1.    MLS - Down hallway. Amber and Dean enter house. Dean goes upstairs, Amber walks towards kitchen.

2.    MS - Amber puts bags down in kitchen on table.

3.    CU - Amber seeing phone and notepad on table.

4.    CU Over shoulder  - Amber’s hand picking up the phone and tearing note. Walks out of shot.

5.    (ALT) MS - Amber walking out of kitchen

6.    (ALT) MS - Amber walking up stairs

7.    MCU - Camera inside wardrobe as she opens it.

8.    MCU Over shoulder - Amber selecting a number of shoeboxes before pulling one out.

9.    CU - Open shoebox and put phone inside

10.  MCU - Camera inside wardrobe as she shuts it

SCENE 4 - Man at the door

1.    CU - Amber scrubbing a stain off a plate by kitchen sink

2.    MS - Amber shown by sink in kitchen - knock at the door. Amber turns.

3.    MCU - Outside kitchen window - Amber walks away to door

4.    (ALT) - Shot through the peephole

5.    (ALT) - Amber looks through side window to see man

6.    CU - Amber undoes chain lock and bottom lock

7.    MCU - Amber opens door slightly and speaks to man

8.    CU - Man puts foot in house as she shuts door.

9.    (ALT) CU - Man puts hand on door as she shuts it.

10.  CU - Amber’s reaction.

11.  MLS - Amber putting back against door from down hallway or upstairs.

SCENE 5 - Amber tells Dean

1.    CU - Amber’s hand opening the door-handle.

2.    MLS - Amber walking into room and standing in door frame.

3.    (ALT) MS - Inside room watching door shut

4.    CU - Door shutting, Amber walks out of frame

SCENE 6 Part 1 - Guitar in Room

1.    CU - Tightening guitar strings

2.    MS - Amber on the bed

3.    CU POV - Song lyrics on the bed + writing

4.    CU - Hands moving on to guitar

5.    MCU - Amber looking up after hearing music

6.    (ALT) MCU - Amber on bed

7.    (ALT) MLS - Whole scene from wide - to walking out of room

8.    MCU - Amber looks up after hearing noise

SCENE 6 Part 2 - Downstairs

1.    Tracking shot - Amber walks out of room

2.    LS - Amber stood at top of stairs filmed from bottom

3.    Over the shoulder - Top of stairs looking down, Amber walks into frame

4.    CU - Amber’s feet coming down stairs

5.    CU - Amber’s hand on banister

6.    Tracking shot - Behind Amber walking towards door

7.    Tracking shot - In front of Amber walking towards door

8.    CU - Feet walking towards/backing away from door

9.    CU - Amber’s face walking towards door

10.  MCU - Gap in kitchen door

SCENE 7 Part 1 - Argument in bedroom

SCENE 7 Part 2 - Storming outside

1.    CU - Amber feet running down the stairs

2.    Tracking shot - Shaky following Amber to door

3.    CU - Undoing locks and opening door

4.    CU - Door slamming

5.    (ALT) - Wide shot outside watching Amber walk round to side

6.    MLS - Behind corner watching Amber come round corner

7.    CU - Amber getting phone out pocket

8.    CU - Amber’s face, quickly wiping tears

9.    ECU - Amber’s fingers hovering over keypad

10.  (ALT) - Side profile MS - Amber against wall.

11.  (ALT) CU - Crossing legs awkwardly

SCENE 8 - Amber in bed

1.    MCU - Amber’s head and torso in bed looking out of window

2.    (ALT) MS - From above, Amber and Dean in separate parts of the bed.

SCENE 9 - Living room in morning

1.    Wide shot MS - Amber enter’s room and looks around. She sits down on the sofa

2.    CU - Bottle kicked over as she walks across room

3.    (ALT) CU Amber’s face staring at blue screen.

4.    (ALT) CU Junk on table and floor

SCENE 10 Part 1 - Amber Packing for car

1.    Over the shoulder - Amber shutting and zipping suitcase

2.    (ALT) CU -  Zip shut

3.    Wide angle MS - Outside room looking in at her standing over suitcase.

4.    CU - Hands gripping handle

5.    MCU - Amber hears the car engine

THURSDAY FILMING - SHOT LIST

Day – House

Scene 3 – Coming home

Scene 4 - Telling Dean about man at the door

·         CU – Door handle opening

·         MS – Amber in doorframe from behind

·         MCU – Amber looking in room from side, closer in to face

·         MCU – Drug things on floor, Dean pulls them behind door.

·         MS – Amber shutting door from side, walking out of frame.

‘Meeting someone’ scene – Dean downstairs – AT KITCHEN TABLE WITH BLUE BAG NEXT TO HIM. WRITES NOTE THERE AND WALKS DOWN CORRIDOR.

EXTRA – Amber doing something between Man at Door and telling Dean. (Looking in mirror, wiping window, Washing machine with ripped t-shirt etc.)

Day – Car

Scene 2 - Car

Day – Countryside

End scene in car

1.       MS – In car out back side window, bushes moving past. End looking at grassy patch?

2.       CU – Pulling handbrake

3.       MCU – Dean gets bag out glovebox

4.       MCU – Back right angle, Dean looking at him as he says ‘Don’t move’

5.       MS  - Outside right door. Dean gets out right door, see Amber through window.

6.       MLS – Behind car seats. See Dean walk past front of car.

7.       MS – Amber watching Dean.

8.       LS – Dean out window walking towards/stood at point in field

9.       (ALT) MS – Dean in field, can hear phone.

10.   MCU – Focus pull Dean walking back to car to Amber looking down

11.   CU – Phone clock

12.   (ALT) Amber looking through rear window or in side mirror in anticipation

13.   (ALT) Locks on car door

14.   CU – Amber looking at keys

15.   CU – Keys on seat

16.   MCU – Amber in car looking out of front window

17.   CU – Amber through window. Dean hitting and pulling handle. Blue light/Running/Get out, end. Tripod. Slow zoom in?

Night – House

Amber coming downstairs to kitchen party

1.    Tracking shot - Behind Amber walking towards door

2.    Tracking shot - In front of Amber walking towards door

3.    CU - Feet walking towards/backing away from door

4.    CU - Amber’s face walking towards door

5.    MCU - Gap in kitchen door

Amber and Dean argument

Storming out of house

1. CU - Amber feet running down the stairs
2. Tracking shot - Shaky following Amber to door
3. CU - Undoing locks and opening door
4. CU - Door slamming
5. (ALT) - Wide shot outside watching Amber walk round to side
6. MLS - Behind corner watching Amber come round corner
7. CU - Amber getting phone out pocket
8. CU - Amber’s face, quickly wiping tears
9. ECU - Amber’s fingers hovering over keypad
10. (ALT) - Side profile MS - Amber against wall.
11. (ALT) CU - Crossing legs awkwardly

Amber and Dean in bed

MCU – Amber in bed. Pulls up duvet higher. Dean moves, looks around and then back.

MS High angle – Amber and Dean in bed.

EXTRA – Bar scene in the unit

THURSDAY FILMING SCHEDULE

9.40 – Meet at Sheffield train station

10.06 – Get train to Elsecar

10.25 – Arrive at Elsecar

10.30 – Walk/Get lift to house (34 Shire Oak Drive)

11.00 – Start filming

1.30 – BREAK FOR LUNCH

2.00 – Filming

5.00 – Film the scene in the car

6.00 – Travel to country lane location (5mins) and start filming

7.00 – Return to house and film night time scenes

8.30-9pm – Finish filming and get a lift to train station

9.34 – Get train back to Sheffield

9.55 – Arrive in Sheffield

Equipment List

‘Overdose’ – Props List

·       Striped or distinct plastic bag

·        2-3 shoeboxes

·        Bundles/wads of fake money

·        4-6 old phones

·        Amber’s phone

·        Dean’s phone

·        Clear plastic ‘baggies’

·        Shopping bags and groceries

·        Notepad

·        Man at door crumpled note

·        Amber’s guitar

·        Cans/bottles of alcohol

·        Takeaway food packaging

·        Concealed paper package for bar scene

·        Amber’s suitcase

·        HDMI Cable and Laptop for Blue Screen on TV?

·        Baking powder/flour for powder in bag.