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12D: MEST2 Progress report

Progress report

• Work completed since 6 January

Since the 6th of January, we have completed all of our pre-production work including but not limited to the script and mise-en-scene document, we've got most of our props that'll be used in the film and we have confirmed with all the people we want in the film, when they need to be available for.

• Any incomplete pre-production tasks

The storyboard and shot list for the production may need to be re-looked at in consideration of scenes/parts of scenes we may have added or modified over the past few days. Not only this, but the mise-en-scene document will have to display the fact that there has been a change in the actors playing lead characters for instance the most important one, being La Sombra's actor being replaced as a way of reflecting what his ethnicity is more likely to be - fair-skinned and of a reasonable height.

• Next steps/action plan

Filming for the production should begin on 23/01/16 with the audio recordings having been done. For this to happen though we need to ensure that everyone we plan to have in the party scene of the 3-minute clip, will be available on the day that filming happens on and in addition to this we need to have all the props that we planned to utilise ready e.g. briefcase, syringe etc. 

• Date filming will be complete

Seeing that things go to plan filming for the production should be complete on the first, if not second week of February.

• Requirements for photo shoot next week

For the photo shoot next week, the main things that we require are appropriate clothing for the main character to truly deliver the aura that we want to with readers, all the props such as the syringe that will be used in the production to murder the supposed target and also that same actor that actually will be playing that mistaken target.

MEST2 Print brief

MEST2 Print brief

Research

1. In terms of key conventions of magazine front covers that the BFI Film Festival programme front cover incorporates, not a lot can be referred to starting with the title of the publication itself. Being placed in the centre of the cover, the title essentially acts additionally as a central image too helping 'establish the magazine's core [...] identity.' The date follows right below this title, this time with the purpose of informing readers of the actual date of the festival, explaining why it's in a bigger font in comparison to 'In partnership with' to ensure that readers understand when exactly they can expect to attend it - the most important thing. Lastly, from a colour scheme standpoint the cover can be regarded as being quite minimalist with its primary use of colours solely within the title and only a black background being used. The colours that are actually used, located in the title, have connotations of more of a party environment with the multi-coloured lights (e.g. red, purple, orange etc.) which help convey the whole vibe of going to a festival.

The magazine mainly strays away from the more traditional variants through its use of a title acting also as a central image. With titles usually being placed within the top third of a cover, the fact that it has been placed within more of a central position in this cover shows the contrast between it and other magazines. This goes on to make it more visually appealing since by using a stencil font and having an image 'making up the colour of it' instead of a simple and more conventional solid font colour, the film takes a different and arguably more professional design approach.

2. 

The collage layout of this brochure is something that could definitely be possibly implemented into the print brief instead of the typical one picture cover to widen focus to multiple different images that have relevance to the production.

Perhaps not necessarily having a whole image occupying the front cover is something that can be picked up on here and with that maybe with how the cover is laid out in the image above, the title could also be manipulated in terms of positioning which will be talked about in one of the next few images.

Having a picture-in-picture might be something that we could use to help us portray two important things at the same time instead of putting them all within the double-page spread - alternative to the college layout.

Here, in taking note of the vertical position of 'SPRING 16,' it has to be considered how the title of the magazine will be presented such as whether it'll be in the more usual horizontal positioning or instead, diagonally for example.

Lastly, a front cover doesn't necessarily have to have one actor in it and actually there can be multiple different people in it as shown above. This could be implemented with the magazine for 'La Sombra' in that both La Sombra and the mistaken target could feature on the cover.


3.

A more simple layout for the contents page with the page magazine sections on the left side of the page and a picture on the right, can actually go on to give off a more sophisticated appearance to content. That, coupled with a simple black or white background also helps contribute to this same appearance.

The images that we actually end up incorporating in the contents page don't have to occupy whole pages and instead we can use different ones with different sizes in mind which can also assist to make it easier in using multiple images.

Perhaps having other images flanking both of the contents pages, could make the magazine appear more professional, but only if done properly. For example, having a syringe on each side of the pages in the same way it's done in the image above would be appropriate since it suggests that it has some sort of significance relating to the main feature of the magazine.

What can be learnt from these contents pages is that the way the pages as well as their respective numbers are actually presented can actually be toyed around with instead of just kept in the usual format. For example here, different characters from different productions are put into bubbles with the page number detailing the film they're in next tot them.

Although we're of course, required to use pictures in our contents pages what this shows is that colour can also be used almost as if they're codes in relation to different sections there are in the magazine. An example of this could be the 'La Sombra' heading being represented with a red colour block next to it and 'Transgression' having a green one instead.

Planning and sketching

Target audience appeals:

• Competitions or free/promotional offers in order to help them save money with the fact that the age range does start from teens
• A  sense of danger due to the more rebellious nature of the teenage age group
• A use of both text and pictures, and not just excessively large blocks of text within the article
• A presence of colours in the article and not being too monochromatic
• A twist on something that has been ongoing for a long time - a silent hitman in a film to do the Mexican cartel

Double-page spread:

• 'Silent killer'
• 'Dead on target'
• 'Under the shadow'
• 'Fear the shadow'
• 'Hit list'
• 'One-hit wonder'
• 'Sombra'
• 'Assassin'
• 'Tough love'

Contents page

The syringes on the side of each of the two pages, help to relate to the weapon La Sombra uses to take out his adversaries - as seen in the 3 minute clip.

Front cover

Photoshoot

1. The character that'll be appearing on the front cover of the print will be the central protagonist of the production itself - La Sombra. This will give the opportunity for the character to be showcased effectively in addition to the film/production he actually stars in itself.
2. The image that'll be required for the contents page is a still shot of La Sombra seemingly 'leaning on the left side of the page.' While this is done a shadow can also be present in the image just a subtle way of referring to the actual English translation of his name - the shadow. To do this, the rule of thirds will have to be utilised to make sure that the actor playing La Sombra is on the left section of the image.
3. For the double-page spread, one of the images that'll be used is La Sombra on the phone to the cartel boss while overlooking Grand Union Canal (back facing the camera). This provides the image with a more enigmatic tone with the face of the protagonist not being visible to readers. This combined with the murky tinge of the water, low angle shot and vignette effect (across two pages) will also help deliver the exact dark atmosphere that we intend to convey to readers of the magazine.
4. Shot list:

• Long shot - La Sombra with his side to the camera (full body shot)
• Medium shot - La Sombra holding the mask he uses in the party scene
• Close-up - La Sombra wearing the mask (only having half of his face visible)
• Long shot - protagonist drinking from a hip flask (full body shot)
• Medium shot - shadow with a briefcase next to it
• Close-up - showing La Sombra with his fingers on his tie as he undoes it, perhaps with a splatter of blood on his shirt
• Medium shot - La Sombra holding a briefcase with both hands
• Medium shot - La Sombra sitting down with a hip flask in his hand and briefcase placed in front of him
• Close-up - syringe in protagonist's hands
• Medium shot - protagonist proceeding to kill his supposed target with the syringe his hand, as if it is captured just a moment before he gets killed

     5. Costume, props and make-up:

• Syringe
• Alcohol bottle
• Hip flask
• Suit
• Tie
• White shirt
• Briefcase
• Mask

     6. One of the things I'll be doing to ensure everything is prepared for the actual photoshoot is            talk to both the person being cast as La Sombra and also the unintended victim to make it            clear when they need to be coming to the classroom for the photoshoot. Not only this but I'll          have to make sure we have all the props necessary such as the hip flask and mask to                  deliver on the planned shots as I envisaged them to have been taken.

Double-page spread

THE STORY

Enter the mind of an assassin: La Sombra. Essentially being the embodiment of the strong, silent type he goes about his duties with not finesse, but simple brute force and a swig of whiskey by his side. However when he ends up taking out the wrong man, he realises that the same associates that were once by his side now become new additions to the set of demons that he already has and must be wary of. And while his first instinct is to run back to the shadows that inhabit the night, when he realises that his lover is kin to his boss, he takes it upon himself to resort back to the shady dealings he knows so well.

ENTER THE SHADOW

I’LL PAY FOR THE MISTAKES I’VE MADE, BUT NOT WITH MY LIFE. These are the words La Sombra’s philosophy lies so deeply within. What he does to keep his life however, isn’t the matter whatsoever whether it means the killing of a single target or mass murder. Learning to the use alcohol as a therapeutic essence, the ‘sicario’ is desensitised to any form of bloodshed he may have to witness or be a cause to throughout a day’s work, whether it be that or memories from his broken childhood. Emanating from the home of lions and bears in Galicia, it was beyond a shadow of a doubt that La Sombra would end up where he did and find so much comfort within the backstreets in which he figuratively lives in.

TRADE

At the heart of this whole plot though, is the Spanish human trafficking ring that La Sombra works for. Selling women to warlords and other men alike, the group is thought to be one of if not Spain’s most dangerous crime syndicate about. And while the ring’s primary focus is on business and in the grand scheme of things making money, stepping in the way of their business is you becoming their business to deal with. Ruthless and unforgiving is a light way of putting the way in which the cartel deal with things and people who do end up stepping in their way usually get forgotten about within a short space of time.

SILENT KILLER

It’s often said that ‘silence is sometimes the best answer,’ but in the case of La Sombra silence is the only answer.  Impacted by traumatic moments in his childhood with an abusive father and ill mother, who both died in adolescence, the hitman has been mute since single digits and has since found refuge within the number of gangs that coexist within the underbelly of the cities. Once he reached adulthood though, his way of talking changed from simply throwing his fists about aimlessly with no target in mind, to weaponry whether it be knives or the natural complement to bullet ammunition. However, when it comes to  one of the more imperative and life-changing decisions,  the contract killer has to take it upon himself to pay for his mistakes through his words.

Pre-production

Pre-production

Project schedule

Mise-en-scene

Casting details

• Khalid Abdillahi – will be doing La Sombra’s voiceovers as he’s had sufficient experience in actually speaking Spanish. Not only this, but he'll also be the unintended victim that ends up getting killed by our main protagonist at the mask party
• Callum Louis – will be acting as La Sombra since he fits the role of the character from a racial/ethnic standpoint
• Mr Halsey – could potentially be cast to perform as the cartel boss to make the film appear more authentic
• Deepak Marok - will be cast as the bouncer for the mask party by the lecture theatre doors
• Callum's dad - will be cast as the taxi driver for the cab scene
• Range of people from Year 12 - a range of people from the year will be cast as the partygoers at the masquerade

Location scouting with photographs

• Grand Union Canal – While we had originally planned for our setting to make use of Brighton Pier as a primary location for the film, we considered things like timing issues and weather and realised that going to the nearby canal would be a much more viable option. Not only is it more local, but it’s also a location that has many aspects to it that could help in making our film come across to viewers in the exact way we want it to e.g. the more murky tinge to the water could help contribute to the darker undertones the production is supposed to have.

• Drama studio – this location will be used for the party scene to take place in where La Sombra plans to take out his target discussed with him by the cartel boss (Don Javier). It would make for an effective setting for this to take place in as with the studio being quite large, if presented well enough with different props, it could pass off for being the location of a party.

• (Outside) lecture theatre – this location will be used for the scene that involves La Sombra’s interactions with the bouncer at the door of the party since the completely opaque double doors of the lecture theatre, look like something you might see at the entrance of a (private) party.

Props

• (Fake) phone – will be used by La Sombra to communicate to the cartel boss
• Briefcase – contains the details about the target La Sombra is pursuing
• Hip flask - contains the alcohol La Sombra constantly consumes
• Masks – the party is a ‘masquerade,’ so each of the attendees will be shown wearing masks
• Syringe – will be used by La Sombra to take out the target
• Target details – sheet of paper that’ll be found in the briefcase detailing the characters of the target

Costume and make-up

• La Sombra – will be wearing somewhat of an ‘ill-fitting’ suit with undone buttons on his shirt just as a way of suggesting his more unkempt and rough nature being drunk a lot of the time 
• Partygoers – casual shirt and trousers 
• Incorrect target – may have to use make-up as a way of showing his pain while succumbing to the lethal effects of the injection

Lighting 

• Natural light – will be used during the canal scene just due to the fact that it takes places in an outdoor setting 
• Low-key lighting – will be used in the party scene as way of making the location look all-the-more glamorous as well as mysterious

Audience research focus groups: blog task

Audience research focus groups: blog task

With the focus group, what we were required to do was present the pitch we had developed for the (full 30-minute) MEST2 film and take up any points of feedback on it mainly through answering any proposed questions. Our presentation was not only limited to explaining the plot step-by-step to the focus group, but more specific elements to it such as target audience and characters within it just to name a select few.

•  'A cliffhanger is a great idea, certainly for this genre [...] I think that's how you give it a more arthouse twist.'
• 'I love the idea about this concept of coming to the UK because you could also touch on one of the biggest issues of our age which is immigration and refugees.'
• 'Maybe having Spanish drug dealers who have a link to Mexico but they come through that particular route from the Channel Tunnel [...] this has been the focus of the UK for the last 12 months.'
• 'I love the idea of this antihero [...] a complex character that's again very good for the arthouse film because there's no obvious good or bad.'
• 'One thing you have to do a lot of research on is the dialogue [...] and try to capture some of the rhythms and language you'd see in film noir.'
• 'You need a voiceover in a film noir.'
• 'Speak to the Spanish department.'
• I think you should research into the psychology behind it [hitman's mind].'
• 'Don't just rely on Hollywood models [films which feature hitmen].'
• 'Think about how you can develop that role [femme fatale] and how you may be able to subvert it in some type of way, [...] don't just have her as a victim or a princess that has to be rescued, she has to have something about her as well.'

From the discussion, what I have been able to learn is the fact that our film concept has many aspects that we can touch upon in great detail. Not only can we provide a sense of social commentary on current affairs the world, or more locally the West is facing with things like immigration, but we can also reflect on things such as the portrayal of women in film as a whole as presenting her as somebody that can handle herself without the assistance of a man. Additionally from the feedback, something we'll definitely attempt to portray as accurately as possible is the psychology within the mind of a hitman. By doing this not only are we providing a more realistic outlook on what exactly goes through the mind of a hitman, but also we add an entirely new element to the authenticity of the film since we don't actually get a word from the hitman himself, rather just insights into his mind.

When it comes to target audience, the film will appeal to teenagers from the age of 15 all the way to middle-aged 45-year olds. While predominantly being targeted at more of a middle-class audience for its more experimental elements, e.g. silent hitman, the film is also bound to appeal more towards explorers and strugglers in terms of psychographic groups since its fast-paced nature provides a sense of refuge from the trouble everyday life may involve. This all said, the film will without a doubt entertain mafia/crime 'movie buffs' simply due to how much the film pertains to elements of the genre but also differs from it.

MEST2: Film pitch and audience focus group

MEST2: Film pitch and audience focus group

Title and tagline:  La Sombra

‘I’ll pay for the mistakes I’ve made, but not with my life’

Topic from brief (e.g. Modern-noir, Urban Life etc.):

Modern-noir

Genre (and sub-genre if applicable): Crime

Logline – one sentence that sums up the film and hooks people in (25 words or fewer):

A fatal mistake proves to be the game changer, and now it’s the hitman with the target on his back.

Other successful films that are similar to yours:

Sicario, Agent 47, RED,

Narrative structure for full 30-minute film – what happens and in what order (max 100 words)

Takes shot of vodka, and kills people on hit list- to emphasise drinking problem (in Mexico).

Also in secret relationship with Cartel bosses daughter.

Learns of accountant taking bribe from police to sell out the cartel and go on the run to Europe.

(3 minute extract)

After failed mission, using skills acquired over time to stay on the run and stay in the shadows from the cartel whilst fighting against ‘demons’ (drinking problem).

La Sombra meets with secret lover, Cartel bosses daughter but still isn’t aware of this. Plans to run away with her and is ready, waiting on boat to ‘disappear’ for good and waiting for Maria to come. After waiting for hours Don Javier comes on to the boat with his entourage and holding his daughter at gun point. La sombre realises and must choose which one of them dies.

Main protagonist, their desires, the conflicts they encounter etc.:

La Sombra-the shadow. Money is irrelevant, to a man who takes so much. The thrill is the drive and the money is the bonus. ‘Silent’ protagonist doesn’t talk throughout film but has independent narrative and thoughts in his head.

Other characters and their role/audience appeal:

Don Javier Sanchez - Cartel boss who orders the killings of his enemies.

Accomplice to Don Javier - Eduardo Sanchez-loyal to a fault –cousin to Don Javier

Victim (intended)  Arne Schafer – Angered cartel boss, Former cartel accountant

Maria Angel - Daughter of Don Javier  but took mother's name

Target audience for your film (age, gender, social class, interests etc.):

Teenagers 15-45, middle class, people who travel-

The three-minute extract you will make and where it would appear in the film:

This will appear just after the beginning scenes in Mexico.

La Sombra waiting on beach in England and picks up phone buried on the beach, Don Javier on phone giving orders about next kill-accountant. Breaks phone and throws into the sea.

Heads to location to pick up tools and more information about next kill.

Heads to location of kill and realises it is a mask party, don Javier is also attending the party.

La Sombra kills wrong person by mistake and accountant gets away and now La Sombra goes on the run.

MEST2: BBFC Institution research

MEST2: BBFC Institution research

1. The BBFC is a body which essentially controls the content screened in cinemas, with the age-rating process quite a key part of this. It is funded by the charges they make to classify films and not actually by the government whatsoever. However, in making changes to these fees the Department of Culture, Media and Sport have to consulted for approval of the changes.
2. Films are rated by BBFC examiners who watch the films they're classifying in BBFC cinemas to get an accurate representation as to how viewers are going to experience the film. In examining, the film’s synopsis, as well as things like bad language are kept a log of by them.
3. The BBFC have to consider issues such as whether or not the content of a film is in any conflict with the law and also things such as it could desensitise viewers to certain aspects such as violence upon watching it. Drugs, sex and language are all issues they [BBFC] consider.
4. The Dark Knight received quite a number of complaints from viewers for its portrayal of violence at its 12A age rating. With the elements of sadism evident in the film with things such as a bomb able to be seen 'inside another man's stomach,' it's questionable why the film wasn't given a higher age rating. I personally think the film should have been given at least a 15, especially with the fact that one of the issues the BBFC consider themselves is if a film can cause: 'any harm at the age rating concerned.' With children being able to watch the film seeing that they have a parent or guardian with them, it's not clear exactly how a film with sadistic elements like this would not got a higher rating than it did since it could without a doubt potentially desensitise 'a potential viewer to the effects of violence.'
5. Films rated 15 can include:

• Strong violence
• Frequent strong language
• Portrayals of sexual activity
• Strong verbal references to sex
• Sexual nudity
• Brief scenes of sexual violence or verbal references to sexual violence
• Discriminatory language or behaviour
• Drug taking

6. 'Straight Outta Compton' was given an age rating of 15 by the BBFC and this was for aspects it included with things to do with language, sex, violence and drugs. With things such as the use of the n-word, physical altercations and the smoking of drugs, it can be understood why 'Straight Outta Compton' received the age rating it did. Children being able to view such a film might have had their sense of right or wrong skewed or even their social development change as a whole.