Due - Production Blog #7 - Post Production

In the torrents of creativity we are busy like Beavers, forging dams of beauty. With our teeth.

With three quarters of "Architect" now shot and "Identity" due to go into production, ooh any day now. We take a reflective look once again at the storyboards for "Due" and how they compare to what we actually shot.

Deep heat is locked away in his dungeon creating all manner of weird and wonderful effects for the sound design. We've just been reviewing his blustery graveyard score and it is to coin a phrase. Badass.

More blogs from new productions coming soon...

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127 hours - with spoilers

I've decided to branch out of just writing about production updates for uni. I am now going to update with meaningless banter and my thoughts on films I have seen as well.

Lucky you.

So last night I went to see 127 hours. Most people in the audience were there to see the self amputation. Whilst I was intrigued with how they would approach the slicing of skin, as this is something I have to prepare for an upcoming shoot, I was more interested in how the film maker could maintain interest for 90 minutes using one set and the main character never moving more than half a metre from a big ass boulder.

Through a combination of flashbacks, hallucinations and emotional video messages for his family, I really was captivated. Had any other director other than Danny Boyle had control of the film, I imagine the film would have been far more sycophantic and downright cheesy. For instance his family hallucinations were tastefully done, his premonitions were unclear what was happening and his lowest ebbs (attempted suicide, last masturbation and first attempt to amputate) were equally as shocking and unsettling as the actual amputation. The amount of gore was spot on and cut well amongst flashbacks, showing only enough information to digest the procedure rather than be tortured by the whole process.

The ending, whilst everyone knew the outcome was also tastefully done. No need to see the reunification with worried family. Again not cheesy.

I may have to go back and watch Danny Boyle's other films again as I enjoyed this one immensely.

J however, spent half the movie with her fingers in her ears and eyes buried into my shoulder. Wuss. We should have only paid half price for her as she only saw half a film!

Fancy watching the Kings Speech next or the Black Swan. Mind you, Meadowhall cinema is well expensive so I might just wait for the DVD's

Peace

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The Architect is Dead - Production blog #2 - Script and Storyboards

With less than one week to go until we start shooting, we begin to get to the squeaky bumstage.

Where anything that can go wrong usually will.

As with all student/low budget films we are heavily relying on good faith and favours, so fingers crossed we don't overstay our welcome. Our apologies in advance if we do, we will give you a big cuddle to make up for it.

Kostas' scripts are notorious for redrafts and I am a little surprised that we are only up to draft 10 so far. Mind you the script on the shoot is more of a suggestion than a guideline, so expect some Sam Peckinpah totalitarian directing. This is of course a sincere compliment to Kostas.

Intro

Black and White

A cradle of a baby in a dark room

From a CCTV camera, we see a cradle of a baby in a dark room. The cradle is covered with a white sheet. There is blood on the sheet. We cannot see the baby but we listen to its cry.

Scene 4
Black and White
Worksite/ Night

The Architect does not look at the Security Man any more. He just moves his hand towards the guitar and the mutilated hand. He looks as if he has seen something more there. Close-up: A compass is stuck between the strings and the mutilated hand.