Proposal Pitch: Q&A

Following presenting my proposal pitch to my media class, I used Google Q&A to allow my peers to question my idea and give me any feedback. I have responded to each of these question within this post. 

I decided that if I was to include a voice over within my film, I would have the main protagonist - Jess - perform the voice over in order to represent how isolated and ashamed she is of her illness, and how lonely it makes her.

I would not use a darker colour palette because I think that the light can represent that good things can come out off fighting Jess' anorexia, and that throughout her recovery there is hope, even if she may not believe it.

Yes, the audience will know of Jess' anorexia from the start due to the things she does, such as body checking, weighing herself and going on social media and looking at images of underweight girls. The conversation with her mother will also reveal Jess' illness and the extent in which it affects her life and her family.

Short Film: Proposal Pitch, 'In Control'

Idea Three: Thriller Recce

I completed a recce for the idea I had of a thriller/stalker short film.

The vast majority of the film would be set within the stalker's bedroom, which is photographed below.

The white walls of this room connote innocence and purity, emphasising the belief that I want the audience to have originally at the start of the film - that the girl is completely innocent and not suspicious in any way. This room is the typical girlie room with a big bead and lots of patterned cushions with photo frames and other accessories within the room.

I would replace the existing photographs on the wall with photos of the stalker and her victim to develop the plot and make it clear that the girl has an obvious fixation on the boy, one that may be boarding on obsessive. The concert tickets could represent the different events that the couple have been to in the past, developing the emotional connection that they have.

This is the desk that the girl would be sat at whilst she looks at her victims social media posts and photographs of the couple when they were together. This is the point in the script where the audience will believe the girl is just going through a bad breakup.

The window has a clear view of the street below, where the stalkers victim would walk past. This would be where the girl looks out to see him and takes photographs of her victim as he walks past.

In Control - Script/Screenplay

SCENE ONE - BEDROOM

[Close up of Jess asleep, she stirs - CUT to mid shot of her sitting up and getting her phone out. CUT to close up of Jess’ phone as she scrolls through photos of ‘thinspiration’ - photos of underweight girls. CUT to EXTREME close up of Jess’ eyes as she scrolls through the photos - she looks like she's in some sort of trance]

[close up of Jess’ feet as she gets out of bed, CUT to mid shot of her looking in the mirror: she lifts her pyjama top and checks her belly, pinching at ‘fat’. She then does the same with her legs, before trying to wrap her hand around the top of her arm. (Body checking)]

[close up of Jess’ face as she body checks, she looks hurt, disappointed and upset. She rakes her fingers through her hair and is on the verge of crying.]

[long shot of Jess as she gets out some scales from under the bed and positions them on her floor. Close up of her face as she takes a deep breath before CUT to a side-long shot as she steps on the scales.]

[close up of Jess’ reaction - she's shocked, starts to cry (?) before angrily wiping her eyes. CUT long shot of her as she puts the scales under her bed and walks out of her room]

END OF SCENE ONE

SCENE TWO - KITCHEN

[Mid shot of Jess as she walks into the kitchen, filling up a glass of water from the sink. Over the shoulder shot as her mum walks into the room]

[MIXTURE OF MIDSHOTS AND SHOT-REVERSE-SHOT DURING CONVO]

MUM: Good morning

JESS: Hi, mum

MUM: how are you feeling today baby? [places her hand on Jess’ shoulder - Jess flinches]

JESS: [takes a sip of her water] Fine, just tired

MUM: you going to have breakfast?

JESS: I didn't think I had a choice [very sad]

MUM: well, no. You wouldn't want to upset Dr Ford would you?

JESS: [sighs] Of course not [very sarcastic]

[CUT to mid shot of Jess as she gets out a bowl and pours cereal and milk into it before getting a spoon out of a draw]

MUM: Jess, I know this is hard on you - but you don't want to go to hospital do you?

[close up of Jess’ face, she looks tired and bored of this conversation]

JESS: of course not, Mum

MUM: I know you do want to get better deep down inside. You just need to think about how badly you want to go to university and travel the world and experience all those things you have on your list

JESS: [faces her mum and puts on a false smile] Mum, I'm fine. I have it under control. I promise.

MUM: Dr Ford and I don't think you do, honey

JESS: Mum - I. Am. Fine. [she sounds patronising, like she's speaking to a child]

MUM: [sighs] okay, just eat your breakfast. [she opens the fridge pulling out a nutritional shake] but, if you’re in control, then you can drink this

[close up of Jess, she looks scared and betrayed]

JESS: [voice very quiet] why?

MUM: if you want to go to university and do all those other things then you've got to start gaining some weight, Jess

JESS: [looks horrified - only close up shot-reverse-shots] I have been gaining weight, mum

MUM: according to Dr Ford - not enough

[close up of Jess, shaking her head. She picks up her cereal]

JESS: I'm going to finish eating this upstairs

[long shot of Jess as she leaves the kitchen, CUT to close up of Mum - she looks sad, shutting her eyes and taking deep breaths]

END OF SCENE TWO

SCENE THREE - THERAPY

[long shot: a small room - two chairs facing each other - JESS is sat on one, DR FORD on the other. DR FORD is writing something down in a notepad - JESS appears anxious, playing with her fingers]

FORD : [face on mid shot] Jess, I'm going to be honest with you here

JESS: okay

FORD: you have lost 4 kilos in the past two weeke, and I can tell that you are not getting any better mentally. [CUT to close up of Jess’ face, she bites her lip anxiously, CUT back to FORD] I am considering admitting you to an inpatient facility

JESS: what? Why? I'm not even underweight anymore!

FORD: you may not be underweight but you will be if you carry on like this, and besides, the anorexic mechanisms are still very strong. [pauses] I spoke to your mum yesterday

JESS: what did she say?

FORD: She said that your sister has been staying at friends houses for the past few nights

JESS: what's Dianna got to do with this?

FORD: she's staying there because she doesn't want to be there whilst you and your parents argue every night over dinner and then your night snack. It's not fair on her

JESS: okay...I'm confused?

FORD: [sighs] Jess, your mum and dad don't think you’re going to get any better. In fact your mum told me she feels as though she is watching fade away right there in front of them, and they can't do anything to stop it

JESS: what do you mean?

FORD: your mum believes if you are not admitted as an inpatient then you might die within the next year

[close up of Jess’ face, she appears shocked, hurt]

FORD: you've been at a healthy weight for 2 months now and you still haven't got your period back, your refusing to drink the shakes and finish your dinner, you've started exercising again despite my recommendations against it and your mum knows that you're keeping track of your calories again

JESS: how does she-

FORD: that doesn't matter. You've gone backwards by six months Jess. You were doing so much better, and now you're back to the stage you were at when we first met

[close up of Jess, appears stressed - jigging her knee and fiddling with her hair]

JESS: I just - I don't see the point in getting better

FORD: [leans forward] and why is that?

JESS: I'm only going to be more miserable, I'm never going to get to do anything on that list you made me write - I just, I think it's all pointless

FORD: but why do you think those things, Jess?

JESS: [shrugs] I don't know

FORD: that's your anorexia, Jess. It's making you feel as though you don't have a purpose other than counting calories and losing weight. It's making you feel like a failure and see everything negatively. I promise you, if you were to go back to listen to me - stop exercising and calorie counting, drink the shakes and finish your dinner - your body will hit a set point, you won't gain anymore weight and you will start to be happy

JESS: but I'll be fat [sounds defeated]

FORD: I will not let you get above a BMI of 21, I've promise you that. You will not be fat, you'll be healthy. You'll have your period. You'll be less tired. You'll be able to enjoy yourself more. If you don't listen to me - you'll end up in hospital or you'll die. And then you really won't achieve anything on that list

[close up of Jess - biting her lip, thinking and considering]

END OF SCENE THREE

SCENE FOUR - KITCHEN

[pan up from JESS’ feet to her standing over the stove, cooking some pasta, she appears thoughtful, but keeps biting her lip anxiously]

[OUT OF SHOT] MUM: Jess, I'm home!

JESS: I'm in the kitchen

[over jess’ shoulder shot of mum]

MUM: you're cooking?

JESS: [turns to face her mum, pushing her out of focus] yeah, I thought we could all have pasta for dinner

[mid shot of MUM and JESS as MUM reaches for the nutritional shake that's open and stood on the counter next to JESS]

MUM: having you been drinking this or pouring it down the sink?

JESS: [laughs, seems much more at ease] drinking it, [she takes a sip from the straw to prove it] it tastes a bit strange though [turns back to the pasta]

MUM: [close up - looks dumbfounded] I'm guessing your appointment with Dr Ford went well today?

JESS: [turns to face her] Yeah, he told me what you said. I'm sorry. I really am, sometimes I just forget about everything over than that drive to be thin. I don't want you to be scared that I'm going to die. I don't want to go to hospital. And I do want to get better, but it is going to take time

MUM: [smiling brightly - pulls JESS into a hug] Jess, honey, I know that! I don't want you to gain loads of weight, I just want you to be happy and healthy

JESS: I know, I do

MUM: [pulls away from the hug, wiping tears from her eyes] so what pasta are we having?

[the pair continue to talk as the camera zooms out and their conversation fades out into the gradually increasing music. The camera fades to black]

END OF SCENE FOUR

END OF FILM -- CREDITS

To The Bone Analysis

When I first saw the trailer for this film - I was skeptical. The film promised to be 'funny and humane', but the trailer appeared to only show the negatives and depressing parts of having an eating disorder. I was and am grateful that this film in no way 'glorified' anorexia or any other eating disorder or mental illness, however, the trailer at first put me off but really intrigued me at the same time - because it is a film made by people with eating disorders (both the director and lead actor have suffered with an eating disorder in the past) for people with eating disorders in a hope to raise awareness and remind people that they are not alone.

To The Bone is a full length feature film, so I am not doing a full analysis of it, however, as it relates very specifically to one of my themes, I have decided to recognise the different features I would like and wouldn't like to include in my own short film.

The main part of the film that I felt I could draw inspiration from was the family therapy scene, despite how badly it went for the protagonist, Ellen. I really liked how the audience got to see the effect that Ellen's illness had on her whole family, rather than just her as an individual. It was clear that Ellen's mother had in a sense 'given up' in fighting Ellen's eating disorder, as she seemed tired by the different therapies after dealing with and fighting Ellen's illness for so long alone. To most people, the idea that a parent had given up on their child seems unthinkable - which makes the audience realise just how much this family has been put through my Ellen's illness. I specifically liked when Ellen's mother said that her own daughter was 'dying in front of her', because this brings about the truth that if someone does not recover from an eating disorder, the chances are that they will die - either from suicide or malnourishment.

Despite understanding the reason for Ellen's decision to recover may have been the only option for her, I wanted her to realise why she had to recover earlier on in the film either from what her family were telling her or from the events that happened within her inpatient house - in particular the miscarriage. This has made me decide that in my own short film I would like to make the protagonist realise why she needs to recover from listening to the things her family have said about her and the consequences she will face due to her illness. 

The final thing I can draw inspiration from is the film's decision not to include the actual weight of any of the sufferers or mention of their size. I have decided in my work I will use facial expressions to express the protagonist's relationship with her weight instead of showing numbers on a scale or discussing clothes sizes.

My film would also have the same intention as 'To The Bone'; the intention of raising awareness about eating disorders and sufferers and to start a conversation about mental illness, in particular eating disorders - as they are currently something that people feel ashamed of admitting that they have, and I want that to change.

Side Note: I have a full, spoiler filled review here:
https://annabelleargent.blogspot.co.uk/2017/08/to-bone-film-review.html

Night Night Nancy: Textual Analysis

I watched 'Night Night Nancy' in order to get ideas and inspiration for my horror and thriller film ideas.

Empty: Textual Analysis

'Empty' is a short film about a young girl who is in recovery for anorexia nervosa. I decided to watch and analysis this film as it is one of the few that has the aim of raising awareness on both eating disorders and form in which they can come in. The film establishes its genre and theme through the use of each of the micro-elements. Additionally, the film uses the traditional codes and conventions for a short film.

The film is presented to the audience as a realistic drama - almost a documentary, due to the real life dialogue and phrases used by the film. Throughout the film, Keira is shown to be struggling with a nasty 'friend', who is later revealed to be an physical embodiment of her anorexia. Ana tells Keira that she 'looks like shit' and that she 'doesn't have an eating disorder', and that she is 'the only one that's stood by' Keira throughout her journey. These phrases are clear examples of the types of thoughts that a person with an eating disorder may experience, especially when relapsing. This creates realism for those in the audience who have had an experience similar to this in the past, in addition to making the film relatable and impacting for an audience who may have suffered from either eating disorders or any of kind of mental illness. Keira's use of dialogue during her therapy session has a similar effect in creating a realistic and dramatic atmosphere through her uses of the words 'in control' an 'disgusting', which is common vocabulary for those struggling with an eating disorder.

The use of non-diegetic and synchronous sound combined with the use of a voice over to demonstrate the thoughts Keira is fighting when facing her eating disorder allows the audience to understand the kind of things running through her head that makes 'just eating' incredibly difficult. This contributes to the sense of realism created by the use of dialogue, and emphasises the struggle people with mental illnesses go through when trying to perform the simplest task. 

Throughout the film, continuous editing is used to present the reality within the film for the protagonist and for some members of the audience. This keeps the audience focused on the narrative, and exaggerates the realness of the situation in addition to sticking to the linear narrative created by the film and its storyline.

Shot-reverse-shot is also used frequently throughout the film to enhance the audiences understanding on each of the characters and the emotions they are feeling during the narrative. This exaggerates that the film is a drama - with the primary focus of the narrative being on the way each of the characters feel, and how the situations they are put in effects them. The utilisation of shot-reverse-shot also allows the audience to connect with the characters on a much stronger level despite the limited amount of screen time each of the characters get. Keira gets the most screen time, supporting that she should be the primary focus of the audience should be on Keira, as she is facing a difficult and emotional time, and she may see things differently to those in the audience who have not experienced a mental illness.

The drama is also represented through the use of mise en scene, such as the costumes that both Ana and Keira are wearing. Their costumes deeply contrast one another, creating a representation of binary opposites in regards to light vs. dark. Keira has blonde hair and is wearing very pale, light clothing - representing that she is very pure and innocent in comparison to Ana, who wears black matched with red lipstick and a red top, representing that she is dangerous with bad intentions. The black that Ana is wearing also represents the depression that Keira faces from allowing Ana to influence her and take over her life. The red of her lipstick and top has connotations of danger - which could represent the danger that Keira faces of being hospitalised or even dying due to her illness. This pushes the idea that the drama of the film is caused by Ana, who is pushing Keira to do something that is very dangerous and can really effect her physical health in addition to her mental health.

The realism of the film is also represented through the use of props, in particular, the breakfast bar that Keira carries around with her. The bar represents the start of Keira's real recovery, something she has been putting off/avoiding due to her anorexia's strength and power over her. However, at the end of the film, where Keira ignores what the 'voices' in her head are saying and she eats the bar, this represents her new start and her strength in fighting against her eating disorder. This represents the theme of the story too, by making it clear that no matter how strong and persistent a mental illness may seem, you can beat it and go against it with nothing happening to you; this is created with the aim to inspire those with a mental health condition to fight against it for a 'normal life'.

The utilisation of camera angles and movements helps to demonstrate how emotional and vulnerable Keira is during the period of time in the film. Close ups are frequently used throughout the film to represent the emotions that Keira is feeling, and how weak she is - both physically and mentally. In the terms of her mental weakness, this is represented through the ease in which she conforms to anything that Ana says, and her low mood. Her physical weakness is portrayed by her thinness and delicacy. Keira's appearance conforms to the dominant ideology of those with anorexia - that they are young, very slim, white females - the film does not entertain the possibility that some males, or someone of a healthier weight could be suffering with the same illness, and instead focuses on the traditional stereotype that everyone is aware of and knows.

Through the film, the theme and message that is put across is one with the aim of raising awareness of mental illness, and informing those struggling that they are not alone, and should not be ashamed or embarrassed about their illness. This is presented through the dialogue of the therapist, in addition to the message at the end of the film, that serves the purpose of comforting and assuring those diagnosed. This conforms to the conventions of a short film and the idea that they are created with the intention of presenting some sort of message or theme across to the audience. The use of only three characters further conforms to these codes and conventions, by allowing the audience to focus on one character throughout the film and develop an attachment to her - making them care much more about her story and the emotional trauma that she is going through.