Evaluation question 3

WHAT DID I LEARN FROM MY AUDIENCE FEEBACK

As a comedy, my target audience played a vital role in the production of my film. Before filming commenced, I used various means to ensure that the film’s premise was suitable for my audience and would be well received. After presenting our pitch, our group handed out questionnaires requesting feedback and responses to things that they liked and disliked about the premise. Once receiving feedback, it was vital that we considered the feedback given to us so our film would satisfy our audience.

Around ¾ through the production of the Ghost Writer, we exported the rough cut and watched it back to see what we thought so far. Along with our initial reactions, we also put together a focus group of 8, 17-18 males, primarily film and media students, and ask them questions about what they thought. The main issue the group has was the length of the film,  and so we tried to cut down our film to ensure that the audiences was also focused and the film was as concise and as “rapid fire comedy” as  possible. Luckily, the reception was mostly positive and our target audience enjoyed the quirky style of comedy.

When our film was completed we once again asked our target audience what they thought of the Ghost Writer. Again, length was an issue and some cinematography was noted to be a little rushed, which we re-filmed during post production. The target audience was a great help, and definitely made our film better.

This also applied to my auxiliary tasks. My target audience stated that they wanted a film poster that had the same light-hearted vibe that the film itself did. As such, this inspired what film posters that would influence the design of my own poster and resulted in the comic book style design in my final draft. I was glad to hear that the majority of people thought that my poster was suitable and appealing. However, when designing my double page one of the most heard complaint was that the colour scheme was too dark for the comedy film I was trying to advertise, as seen in drafts-1-3. Taking this advice my final draft adopted a brighter colour scheme more fitting for our film.

To conclude audience feedback was vital in influencing decisions and ensuring that my products were successful and attractive.   

Magazine Double Page Spread Final Draft

Film poster conventions

Ghost Writer audience feedback

Ghost Writer Complete

Evaluation Question 1

EVALUTATION QUESTION 1

Scene 1

 

 

 

 

 

Scene 1 introduces our protagonists in a one shot that opens in a long shot of Steve, walking towards the theatre confidently, the camera then does a 180o shot as Steve continues to stride to the doors. This provides audiences with insight into the personality of Steve – they see a confident ambitious filmmaker. Then the camera crabs left and we see our second protagonist Alphonse, who currently on his phone unware that the film festival is starting. This is an example of binary opposites – as Alphonse is the laidback but a bit absent minded character in contrast to Steve. This plays to the strengths to comedy films by having characters that play off each other, creating humorous events. An example of a film that follows this trope would be the comedy film Dumb and Dumber, a style we tried to emulate. After Alphonse is introduced, the camera crabs to the left and tracks Alphonse as he runs after Steve. The audience at this point does not know the context about these two characters and where they are. The scene then cuts to a close up shot of a poster that tells the audience that we are in a film festival, listing the two protagonists we have seen as independent film makers. This provides context for the audience. The reason we decided to use practically one shot for this scene was to emulate the “characters in a doll house” style cinematography that Wes Anderson uses in his films such as the Grand Budapest Hotel.

Scene 2 

Scene 2 is a short scene that establishes the relationship between Steve and Alphonse and a bit of background between them. We have a mid-shot of Steve going up the stairs, then a cut to an extreme close up of Alphonse putting his arm on Steve’s shoulder. The music we had playing is scene and the one before it, a jazzy upbeat piece reflecting the style of the film, abruptly cuts, symbolising Steve’s shock. A two shot, with a slight angle symbolising how Steve sees himself higher than Alphonse, was used to show the conversation between them. Alphonse makes reference to a past event, adding to the enigma code- Is Steve really as good as he says he is? The fact that Alphonse mentions that Steve needs to inexplicably bring “orange juice” adds a bit of humour to the conversation.

Scene 3

Scene 3 is the longest scene in the movie, it introduces the narrative enigma. We begin with an establishing shot of the movie theatre. A visual gag of the feature being empty reinforces the humour and the fact that Alphonse and Steve aren’t very well known. In a two shot Steve sits himself down next to another film maker and introduces himself. The other film maker immediately leaves, showing Steve’s arrogance. It is necessary that characters have flaws or obstacles they become relatable to audience and they wish for them to succeed in their task. Later in the movie we will see that Steve does not only care for himself, showing his development. After a brief cut we are introduced to our antagonist, Basil Jägermeister, however his identity is not revealed to the audience yet. We then have a long shot of the audience applauding as the lights dim, adding to the mise-en-scene and atmosphere. We cut to the audiences reactions over the film, it is important that they were positive to show a contrast between Steve and Alphonse’s films. Basil congratulates Steve and we then see Alphonse’s film, also called the Incident. The Incident is a parody of bad cliché student films, which we emulated by it being a cliché psychological thriller. Alphonse’s film is of a much poorer quality with badly dubbed, silly voices and bad sound mixing. Basil abruptly stops the performance as a long shot shows the audience slowly leaving. The camera zooms in closer as Alphonse and Steve have an argument about them “stealing each other’s movie”. This when the enigma is introduced to the audience and the central narrative: “how will Steve and Alphonse get their money back?”

Scene 4

Scene 4 introduces Crazy Terry to the character roster. Crazy Terry is a conspiracy nut and we wanted to reinforce this in the mise-en-scene by having a cramped claustrophobic room with loads of books and a reference to the Matrix on his computer. We have a shot of him explaining the surreal mythos surrounding the ghost writer they hired, followed by shot-reverse-shot of Terry asking the duo what they’re favourite film is. This is followed by an uncomfortably close shot of Terry replying that it was made by Basil, reinforcing the comical nature of the film and weird ghost writer. Despite Basil’s legacy it is remarkably easy to track him down, adding to the comical silly humour. We get an extreme close up of Terry typing in “whereisbasil.com” followed by a mid-shot of him pointing towards the camera saying “That way!”

 

Scene 5

In what is the shortest scene in the movie, we have a fast paced match sequence of match cuts as Steve and Alphonse place posters stating “Who is Basil Jägermeister” as they attempt to bring Basil out into the open. To create humour, the wanted posters are of increasingly weird silhouettes, including Batman, a dog and a pony because no one knows what Basil actually looks like. A techno remix of the main theme adds to build tension for the climax while still retaining that silly theme. The scene abruptly cuts to a low-key lighting extreme close up of someone talking on a mobile phone – obviously Basil. We have a voice over of Basil stating his annoyance at Steve and Alphonse and his request to meet him. We cut to a match on action of Steve picking his phone up and responding to Basil.  This is followed by a close up shot reverse shot of Steve telling Alphonse that the time to confront Basil is nigh. The music becomes much more suspenseful and eerie adding to the drama of the scene, but is contrasted by Alphonse having a goofy face and nodding obliviously.

Scene 6

 

 

The final scene of the Ghost Writer begins with an establishing shot of Basil’s office, as Steve and Alphonse take a seat. We then cut to an over-the-shoulder shot as the identity of the Ghost Writer is revealed – this was to mirror the cliché villain reveal seen in spy movies such as James Bond and spoofs such as Austin Powers. The Ghost writer is revealed to be the presenter of the film festival, answering the audience’s enigma. We used multiple shot reverse shots of Steve and Alphonse talking to Basil to enforce the conversational tone. As Basil has an extremely long monologue we cut to a high angle of shot of them playing scrabble, adding to the humour. Basil continues his monologue, following the conventions of a comedy villain by hammy and bombastic. The camera then cuts to the protagonists playing with a buzzer, completely ignoring Basils rant, reinforcing the humour. Basil, in anger slowly reveals a handgun and a extreme close up of his face reinforces his anger. Steve, in shock, says to Basil that he wouldn’t dare shoot, immediately of a shot of Basil immediately killing Steve, reinforcing the threat the antagonist has. Alphonse quickly reveals his own weapon, yet humour is still enforced by the quote “I don’t know where that came from”. The film ends on a cliff-hanger as the fate of the duo is left ambiguous, adding suspense. We decided to end on a cliff-hanger as the enigma had been solved, the story felt complete and adding anything extra would have been scene as filler.

 

GHOST WRITER FILM (NEARLY FINISHED)

This is the rough cut of the Ghost Writer, only one scene needs filming, once that is complete the film shall be done.

Auxilary task 2 drafts

DRAFT 1

 DRAFT 2

GHOST WRITER POSTER FINAL DRAFT

GHOST WRITER SCRIPT

THE GHOST WRITER (WIP)

Steve lumby, passionate but headstrong independent filmmaker finds his friendship with Alphonso White and his reputation tarnished when both filmmakers inexplicably have made the same film. Different actors, different shots but the exact same plot. Alphonso explains to Steve that he hired a ghost writer to write his script, Steve has also done this. Realising that the mysterious ghost writer, Basil Jägermeister must have sent the same script to both filmmakers – they begin a journey to track down the elusive writer, though the task is easier said than done.  

Cast List (WIP)

Steve Lumbly – Conner Kacperski

Alphonse White – Not me I can’t act.

Basil Jägermeister– Steve Boyes

Presenter – Steve Boyes

Film festival – extras

Actors – extras.

 

 

Int: Film Festival - Corridor

FADE IN

Tracking shot of STEVE LUMBY. Tall, stocky looking guy, but wearing the cheesiest grin on his face – he’s a man who thinks he’s made it in life. One guest offers a handshake, he shakes it vigorously. He opens the doors into the THEATRE, waltzing in.

CRABBING right, we see ALPHONSE WHITE against a wall. A slick, cool and stylish fellow; he checks his phone nonchalantly, before quickly realising the time. He styles his hair, takes a deep breath and walks into the THEATRE, catching up to STEVE.

Int: Film Festival – Theatre

Establishing Shot of theatre. It is crowded. The crowd applauds STEVE and ALPHONSE.  STEVE grins and waves confidently, ALPHONSE gives a sheepish smile and a little wave.

They both walk up to the seats and sit next to each other.

STEVE: How you doing, Al?

                  ALPHONSE: Good, Steve, good. You?   

STEVE: Great! Yeah… I mean, I’ve done it. Made a film! My own movie!

ALPHONSE: Think they’ll like it?

STEVE: Hope so.

**sandwich board style program with w and d by X**

PRESENTER walks on stage. Lights focus on PRESENTER

PRESENTER: Hello, hello, ladies and gentlemen, to the _______ Film Festival. We’ve got some fantastic movies coming up; some big names, and some independent. But all good stuff, good stuff indeed. Right then, let’s get to it. From Steve Lumby: The Incident

Lights go dim.

SHOT OF STEVES FILM.

STEVE ACTOR 1: Journey, I can’t kill those lads. There me mates!

STEVE ACTOR 2: If you loved me you’d kill them!

FADE OUT TO ANOTHER SCENE

Close up of Alphonse looking confused.

FADE IN

STEVE ACTOR 3: You’ve gone mad, Jack. Journey’s been dead for decades.

STEVE ACTOR 1: (Genuinely surprised) No, fuck off! Really!?

Close up of Alphonse. A lot of thoughts go through his mind. Feelings of anger, disappointed and betrayal. Audience applauses.

PRESENTER: What a fantastic thriller. Can I just say, the dialogue was excellent, such great characters. Coming up next, from Alphonse White: also The Incident.

Lights go dim.

SHOT OF ALPHONE’S FILM.

ALPHONSE ACTOR 1: Journey, I can’t kill those lads. There me mates!

ALPHONSE ACTOR 2: If you loved me you’d kill them!

FADE OUT TO ANOTHER SCENE

CLOSE UP OF STEVE LOOKING FRUSTRATED.

FADE IN

ALPHONSE ACTOR 3: You’ve gone mad, Jack. Journey’s been dead for decades

ALPHONSE ACTOR 1: (Genuinely surprised) No, fuck off! Really!?

FADE OUT. No applause from audience.

PRESENTER: oh, H-heh heh. Must have been based of a book. Well done for Steve and Alphonse’s interpretations – they were both fantastic. Moving on…

FADE OUT

Int: Film Festival - Corridor

STEVE marches out defeated. Alphonse is waiting for him. He wears a fake smile on his face

ALPHONSE: Hey great movie, guy, I’ve just got one little criticism- just one little nit-pick. That was my movie!

STEVE: No. Don’t you dare blame me for this, you liar.  I was already halfway through production when I heard you were making your own. You stole my idea.

ALPHONSE: You’ve got some nerve, I’ll give you that. ‘Always was a copycat, but to pin the blame on me? Your best mate? That’s low man.

STEVE: I didn’t copy anyone; I couldn’t copy from anyone because I hired a ghost writer.

ALPHONSE: Ghost writer?

STEVE: Yeah, you know. Some bozo writes a story for you, and when it’s done you take all credit for it.

ALPHONSE: So you hired this person to make you an entire script, and pretend to do all the work?

STEVE: Yeah, what of it?

ALPHONSE: I did the exact same thing.

Moment pause

STEVE: You don’t think?

ALPHONSE: I do think. We hired the same guy.

STEVE: Seriously?

ALPHONSE: Can’t think of any other reason why this happened. He probably emailed us the same script.

STEVE: Do you know who the ghost-writer was?

ALPHONSE: He wanted to remain anonymous. Went by the name of “X”

STEVE:   Yeah, it was the same person then.

ALPHONSE: I know a guy; he can trace the e-mail, Crazy Terry. We’ll find out where this “X” lives, and then we’ll sort this mess out. Don’t worry about it.

 

TERRY: Oh this is bad. You hired him?!

Establishing shot of TERRY’S CRIB. DUSTY COMPUTERS, DARK ROOM. ANIME POSTERS THAT ARE QUITE QUESTIONABLE.

ALPHONSE: What’s wrong?

TERRY: Nothing, nothing. Just your mystery writer is only Basil Jägermeister.

STEVE: Jägermeister?

TERRY: He’s the Banksy of the writing industry; no one knows what he looks like or where he lives. And his works would ruin the reputation of every producer you know. It’s true, 4-chan told me! Look, who’s your favourite film maker?

ALPHONSE: Quentin Tarantino.

TERRY: Basil.

STEVE: Steven Spielberg.

TERRY: Basil.

BOTH: George Lucas?

TERRY: Also Basil! Every ounce of creativity spewed from them has been his doing. You understand what I mean now? You can’t track him down; he’s Hollywood’s best kept secret.

Steve: Jesus.

TERRY: Now you’re getting it!

(LOOK OF CONFUSION FROM ALPHONSE)

ALPHONSE: No, sorry, this is ridiculous. There’s no way that every Hollywood movie are all written by one guy. I think you’ve been spending too long on those conspiracy sites, mate.

TERRY: (UNCOMFORTABLE EXTREME CLOSE UP. Voice suddenly gravelly.): Sometimes the conspiracies are true…

Uncomfortable pause.

  TERRY: (Still uncomfortably close to Alphonse’s face) Getting to the point, it cost a lot to hire him didn’t it; way more than an indie movie should. Basil’s played you a fool. He’s scammed you two hard.

ALPHONSE: Yeah we know, we know. Where does he live?

TERRY: Let me just track him down.

SOUNDS OF RETRO SOUND EFFECTS. GOOGLE MAPS START FROM EARTH AND ZOOMS INTO GUISBROUGH. WWW.Whereisbasil.com

TERRY: Oh this is strange, this is very strange. Why would Jägermeister be there of all places?

ALPHONSE: What? What’s going on?

STEVE: Just tell us, man!

TERRY: All this time, right under our noses.

CUT TO ESTABLISHING SHOT OF GUISBROUGH.

 VOICE OVER: Guisbrough. 

FADE TO BLACK. WE CUT TO ALPHONSE HANGING AROUND AN ALLEYAY. STEVE MARCHES TOWARDS HIM

       BASIL: Bravo lads, Bravo. You’ve found me. Congratulations.

BASIL’s chair turns around. The identity of the Ghost Writer revealed: THE PRESENTER.

(FLASHBACK TO PRESENTER SCENE)

BASIL: You were expecting someone else?

ALPHONSE: To be honest, yeah.

BASIL: Where else would I be, my lad, but hidden in plain sight?

STEVE: I don’t understand. If you worked at the festival you would have known that the films were the same. You could have told us about it earlier - stopped this mess from happening - Why didn’t you?

BASIL: I don’t know to be honest. I guess I found it funny. I mean, it is, isn’t it? It’s not just me who finds this whole ordeal hilarious? This is something that’d happen on bleeding Prank Patrol! (Laughs) Yes, you two have amused me greatly.  

STEVE: Don’t mention it, pal. Hey, do you reckon we could get paid for a comedy act? About Thirty Seven Thousand!?

BASIL: No.

STEVE: You serious? Yesterday was the worst thing that ever happened to me. People think I’m a fraud. A hack! A laughing stock! You give me a refund right now.

BASIL:  I wrote Titanic, the Lord of the Rings Trilogy and Hobbit! When I sent you your scripts- when you realised that your dream of becoming producers was about to come true- that was the most important day of your lives. But for me? It was Tuesday. Why should I care what happens to a bunch of third rate movie makers?

ALPHONSE: Whoa-whoa-whoa, this isn’t cool. Me and Stevey, we put a lot of work into these films – a lot of work that was sent straight to the gutter. And you just tell us to leave?

BASIL: You know I just sent the script. You’re the ones who copied it word for word. This is your own fault, really.

Steve slams hand on desk. Basil looks unimpressed.

BASIL: I have a question for you. You realise how important I am to Hollywood, don’t you? If the masses knew what I did and who I am, why the industry would be in shambles!

ALPHONSE: Shambles?

BASIL: SHAMBLES! It’d be as simple as that – I’d be out of a job, and you’d be millionaires. Your revenge… at the click of a button. I would be helpless to stop you. So here’s the question: Why am I so confident?

(BASIL pulls a gun out from under his desk. He aims it ALPHONSE and STEVE)

BASIL: Look at my face; it’s the face of a man who would shoot! I’m giving you one chance: leave now and I won’t kill you.

STEVE: You little – (STEVE charges toward BASIL.)

ALPHONSE: Steve, no!

(BASIL shoots Steve in the leg. Steve collapses, bleeding out)

BASIL: Don’t give me that look; I gave him a fair warning. I’m going to have to kill you now, very sorry. But before I blow your brains out, I need your opinion: this whole trifle would make a great short movie, wouldn’t it?

Alphonse Ponders The Thought

Cut to black. Gunfire.

Roll “credits”. Halfway through the camera zooms out, revealing to the audience that this was a movie in a short film festival. We see two people sat next to each other. They look at each other, confused.

Roll real credits.

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