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"The Memoirs of a Yellow Dog"
Film Adaptation
My groups' idea for our film adaptation project is O. Henry's 'The Memoirs of a Yellow Dog'.
I had joined my group quite late in the idea process, but when my group told me about the ideas they had for this piece of literature I thought it was incredibly creative and unique. As the story is based around the inner monologue of a dog, this project will present us with a type of filming that will be creatively challenging to shoot. Furthermore, we intend to write the script with comedic aspects as the original piece of literature holds a lot of comedic content.
After reading The Memoirs of a Yellow Dog, it was evident to me that the story was about the bond between man and dog. The dog despises the fact that the woman calls him "Lovey" and kisses him all the time. He prefers the husband and often feels connected to the husband in a way that he never did with the woman. The dog wants to run away with and live a life with just the male owner, and after the male owner renames that dog as "Pete", Pete couldn't be more happier.
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Critical Reflection: Helpline
For our film Helpline, my main role was to be the Producer. As the producer it was my responsibility to complete paperwork such as the risk assessments, the call sheet, mood board, and to collect and submit all the finalised paperwork from my group. I also organised and booked the equipment and the room that we had chosen to film in, in Craiglockhart Campus. On the day of the shoot I made sure that we had everything we needed to film, helped assemble the set, contributed to the production design, completed the camera report, took charge of the clapper board, and helped dismantle the set.
Our film mostly received positive feedback with some critiques. Some of the positive points of the feedback included our script being very funny and well written, and lighting that helped create the atmosphere of the film. Furthermore, the production design, lighting, and sound design helped build the story world that we intended. Some elements of the film that received critiques included Tom’s entrance in the scene, reaction shots, and sound design. Tom’s entrance into the scene could have been a lot smoother and not as jarring. It was noted that towards the end of the film we could have benefited from shooting some more reaction shots of Julie noticing the red dot on Tom’s face. Additionally, there could have been improvements with our sound design, which was due to confusion with the type of recorder that was used on set.
I think the feedback was very helpful and after watching the film over again, I can see where the critiques lie and what could have been improved. I agree that the editing of Tom’s entrance could have a lot smoother, and we could have benefited from seeing him walk through the door. The feedback from the tutorials was extremely helpful. After one of our feedback sessions we decided to reshoot our film from scratch and saw a great improvement from the inital shoot.
I would say the strongest points of our script include the scriptwriting and the lighting. I think the script was very well written and the conversations between the characters felt real and not obviously scripted. I think the lighting really helped us create the story world that we intended without it being too dramatic or fake, it made the scene look more realistic.
The only thing I would say that didn’t work well, as noted before, was Tom’s entrance. The character just appears from nowhere. I think we would have benefited if Tom had more of a smoother entrance through the door.
I think our group worked really well together. We all contributed to the aspects of the film and paperwork that we were assigned, and managed to get everything submitted within the deadlines. The only thing I think we could have improved were our production meetings. Most of our meetings were done through text or zoom. I think doing more production meetings in person would have helped us make decisions easier and quicker.
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Hindsight
Behind the scenes shot of our film Hindsight. We managed to complete our film in one day with the help of a member from another group. We were pleased with the outcome and the overall visual aesthetic, however, after our meeting with Demelza, some issues with the sound and eye-lines were brought up and we decided re-shooting our film would be the best solution to amend these problems.
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FN2: Character Structure
Goals
A goal is a what your character wants to achieve, not only throughout the story, but in every scene.
If the main character does not have a goal, the story ultimately becomes too passive. This will result in the side character takin over the narrative and the film will start to feel scattered.
A good goal is one that is very simple and precise. It's better not to overcomplicate it, leave that for the character flaws.
Some bad, imprecise goals include: the protagonist wanting to feel some type of connection with another person, they want to feel better about themselves, they want to improve their life, they want to be some kind of saviour.
Bad, metaphorical goals include: the protagonist wanting to explore the limits of human potential, they want to immerse themselves in the wider global consciousness, they want to want to express that humans are a part of nature.
Passive goals include: the protagonist not wanting to die, not wanting to be in physical pain, not wanting to loose their significant other, not wanting to fail their studies.
Some filmmakers will include a time limit in which their protagonist needs to accomplish their goal e.g "Batman needs to stop the villain within 24 hours, before he destroys the city".
Stakes
Stakes are what happen if your character doesn't reach their goal. For example, Hamlet will continue to be haunted by the ghost of his father. In Get Out, Chris could end up being a shell of a man being controlled by his in-laws. In Bridesmaids, Helen will become the successful maid of honour that Annie couldn't.
Motivations
Motivations are the reason that the character is pursuing their goal.
Bad motivations are unclear, such as "They want to win a marathon because it might fix something about the character feeling unloved". Impersonal motivations such as "They want to pull off the casino heist because who doesn't love money" are also a bad choice.
Good motivations are clear to the audience, pack a gut punch, and we see evidence of the motivation somehow.
Obstacles
Obstacles are anything that gives resistance to the protagonists' goal.
External obstacles are things in the outside world that gets in the way of the character. Life should be hard for the characters. The story should have a mix of big and small obstacles.
Internal obstacles are psychological issues that stop the protagonist from watching their goal.
In many ways, internal flaws are manifestations of character flaws. In a great screenplay, the internal obstacles should drive the external obstacles.
If your character has no internal obstacles, the film will feel overly simplistic.
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FN2: Group Progress
Feedback:
The feedback we received on the 10th of February helped us get an understanding of what a treatment should look like and how we should format it. This is currently helping us with the pre-production paperwork. The lecturer questioned us on how we are planning to shoot an interior scene at night. We clarified that we would make use of artificial lighting effectively in order to properly light the scene, while making sure not to under or over expose the frame.
Sound:
In the lecture for "Dark Art of Sound Design" we learned how to start using sound in our films in order to enhance the atmosphere and create an off screen presence. This allowed us to start thinking about how we intend to add in non-diegetic phone calls in our scene. This lecture gave us immense insight on how we can add realistic and atmospheric sounds into our film.
Shooting Plan:
As we are still working on our pre-production paperwork, we do not yet have a set shooting plan. The paperwork will give us more insight on what actors we need, props and equipment, thus leading us to start creating our shooting plan. Our producer, Amber, is currently doing the risk assessments and will proceed to book the equipment once we have a set filming date.
Dynamic:
We are all contributing to the work and working well as a team.
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FN2: Script to Screen
The aspects of pre-production include:
Creative- This consists of translating the script into images and sound, and figuring out how to use every creative element in order to represent feelings, emotions and atmosphere.
Practical- This consists of planning in advance what will need to be done on set. Furthermore, it ensures that you will shoot footage that will be able to be properly used.
The Director's Job:
It is the director's job to collaborate with all of the departments in order to bring the story to life. They have to figure out how it will look and sound, and how to be consistent with the tone/atmosphere throughout the film. They must discuss with the DOP how the world and the characters will be shot, and how this will result in the characters being perceived by the audience.
Both direction and cinematography are vital in order to translate feelings into images. The way the characters are framed and how they are shot adds a lot more subtextual meaning.
Once the film is creatively visualised/planned, it is vital to write down ideas in an objective way that is easy for both you and the crew to understand. This is achieved through storyboards, shot lists, script breakdown, floor plan etc.
Shot List:
The shot list are images of the storyboard that are put into detailed words. This is used to make sure enough coverage is planned, help the 1st AD schedule shoot days, and provide detail to different departments for technical requirements.
Script Breakdown:
The script breakdown consists of going through the script and identifying all elements needed for each scene. This consists of props, characters, location, costume, sound etc. This is extremely useful for the director to understand the scene thoroughly, and for the producer to make sure everything is accounted for. By identifying these elements, the art department can make a list for all the props and set dressing needed.
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FN2: Character Flaws
"The term hamartia derives from the Greek ἁμαρτία, from ἁμαρτάνειν hamartánein, which means "to miss the mark""
This term is often used to represent the flaws of a character and using them as the reason of a characters possible downfall. Hamartia was initially used by Aristotle, who believed it was powerful to have story begin with a strong hero who ends up falling into misfortune by their own flaws.
Mary Sue is a term to describe characters that, unrealistically, have no flaws. A Mary Sue is often believed to be an Author's idealised version of themselves.
The most common mistakes with creating character flaws include: Flaws that happen to most people, flaws that aren't really flaws, multiple flaws, and the curse of a backstory.
An example of a character flaw is Maya in Zero Dark Thirty. Her character tends to put her work life before her family life. In most cases characters tend to realise and overcome their flaws at the end of the story. However, Maya never overcomes her flaw.
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