productionpackinto the darkness

Into The Darkness Production pack By Lydia Dwek

Beyond the Boundaries BA (HONS) Digital Film & Screen Arts University for the Creative Arts November 2015

Table of Contents Synopsis & Treatment………………………………………………………………..3 Holistic structure …………………………………………………………………….4 Character & Finalised Script............................................................................................ 5 Storyboards & Shot lists....................................................................................................12 Mood Board........................................................................................................................15 Character description.........................................................................................................17 Characterization................................................................................................................21 Costume & makeup design................................................................................................25 Visualization.......................................................................................................................27 Cast......................................................................................................................................28 Crew.....................................................................................................................................29 Schedule.............................................................................................................................. 30 Call sheet.......................................................................................................................... 33 Actor agreements............................................................................................................... 34 Equipment Hire sign off……………………………………………………………..38 Risk assessment....................................................................................................................40 Learning Agreement..........................................................................................................44 Blog Link..............................................................................................................................46

Synopsis & Directors Treatment

Synopsis A 20-minute narrative, scripted and improvisational short film piece based on the origins of the Batman Gotham films and television series. The characters include the notorious Joker, Riddler, Harley Quinn and victor Zsasz. The aim is express these character’s emotions and to convey their erratic behaviours, personalities and traits through ordinarily dressed people. The theoretical location is an asylum | prison cell| interrogation scene. Directors Treatment This will be viewed on 4 screen portraits all on a loop in sync to each screen – performed by actors applying subtle methods to suggest underlying their characterisations using choreographed movement whilst speaking to the camera -theoretically talking to: themselves”. The characters are– three men and one women appearing in mid shot and close ups from a single camera. The close up emphasises the odd twitches or gestures. The camera direction will follow the inflection of the monologue. So Samuel Becket like – these might need some repetition and emphasis. I intend to use this as the basis of my film. I will be enlisting selected drama students to enact these cues to make visual observations of how these characteristics are presented through mannerisms etc. As this will be a solo production I saw this as an opportunity to explore the deeper emotion of how actors portray this in film. The script will be 4 x approx. 5-minute monologues for each character. In terms of costume design I would like to approach costumes within ordinary clothing, however to show some hints of characterisation I will be including makeup but only the odd makeup to convey cuts and bruises. Due to the theme of darkness within these characters inflicted the theme of aspects of violence the intended audience is for the age range of PG15, which when this film is shown in the exhibition each screen will have headphones attached. The use of low-key lighting with a spotlight effect is key. The film begins with each character sitting down with their heads down. Sound effects will be included in the cinematic intro. A gradual racing pulse effect could be used also. Each character looks up at the same time-in unison & lighting is lit up on each character. First character | The joker characters monologue- including facial expressions, improvised laughter, hand gestures- including close up shots of character

as well as mid-shots, this will include a lose up side shot. Next character just as previous character etc. Once all characters have finished their monologues each character swaps role and repeats the whole script with reverse roles. Ending scene will be a zoomed up shot of all characters saying one last sentence. Holistic Structure Theholisticstructureofthisfilmisnotonlythemainbasisofinterpretationofthesecharacter’spersonalities.Traits,mannerismsetc.butthinkingoutsidetheboxit’salsotothinkabouthowtherelationshipofthebodybetweenitsvocal.(SamuelBecket).Therewillbealogical,andaestheticallyconsistencyinrelationtotheecontinualitythroughoutthefilm.TheideathatIgraspedwastohaveeachcharacterstartwiththelastwordthepreviouscharactersaid.Iwillexploremethodactingwithintryingtoaccess-hiddenpsychosis-apermanentdistortion?(Eachcharacterinadistortedlikesform?)Scene 1- Allcharacters3-secondfastfade-Backgroundlightingnotvisible.Spotlightonactorsonlyshowingshadowsaroundlighting.Scene1willbeawideshotofeachcharactersfullbody(sittingdown).-midshot.Musicofheartbeatgraduallyincreasing

Scene 2- TheTricksterastheJoker.Thiswillbea3minutemonologue(spokenword)wideshotandmidshotsandcloseupshots.-Fastpacedchoreography-straighttalkingtowardscamera;Fadeoutnextcharacter.Scene3-ComplexityastheRiddler.Firstshotofcloseupofcharacter.TheWittydialogueandmannerismsisshown.Usinghandmovementstoexpressviolencethroughtherepresentationofcrushingsomethingwillbeeffective.Fadingoutintonextcharacter.Scene4-Harlequincharacter.Midshotofcharacterusingexpressionsmostlyforthischaracter.Notmuchlaughter,butmannerismsfadeouttolastcharacter.Scene5-AnarchyasvictorZsasz.Closeupshotofcharactergraspingbothhandstogether,beginningdialogue.Usinghandmovementstoexpressviolencethroughtherepresentationofcrushingsomethingwillbeeffective..Fadeout.Scene6-Therepetitionofcharactersmonologueswillbeeffective,howeverswitchingtherolesofthesecharactersmightbeaninterestingtechniquetouse,whichwouldbeintriguingtoseehowtheviewerswouldreact,whichimaginingmightbeconfusionwhichwouldbeveryeffective.Therearesomesideshotswithindifferentanglesoftheactor’sfaceIwouldliketouse.

CharacterScript&finalisedscriptHavingapreviousexperiencewithwritingascriptIdecidedtofindascriptwriterwhowouldbegoodenoughtohelpwithproducingascript.TheScriptwriterIchosewasNiamphQuinlan-whoisalsogoodatturninganordinaryscriptintopoetry.IcollaboratedwithNiamphbygivingheradetaileddescriptionaboutwhatmyfilmwasabout,andhowthecharacterswillbecharacterised.InordertogetascriptgoingIgaveNiamphsomethingtogoonbystartingthescriptofeachcharacter.Trickster(Joker)CharacterScript Joker *Trickster* Madness is like gravity; all you need is a little Push. Some of us have to make mistakes detective. Some of us have to get our hands a little bloody sometimes. The Joker walks to sit down, to realise whilst looking down that he has been handcuffed without realising. Joker Darkness tempts his purity; can you save his tainted soul? Divine move, divine move you think you have any moves at all you can’t kill me officer if you do I will rip your throat out and I will enjoy it without regret so what divine move do you have now? You’ve lost old man and there is nobody to save you (Joker Laughs). Would you like to see a magic trick officer? You know officer even though I’m handcuffed I could literally rip out your heart what makes you so sure I wouldn’t do it here and now in front of all these cameras? Joker punched to face; he falls to the floor bleeding to death.

Complexity(Riddler)characterScript

People say I’m crazy, if they only knew why!

A beautiful woman is a dangerous thing detective- I learned that the hard way.

What is nowhere, but everywhere, except where something is? I used be just like you detective an innocent man, but my true identity surface and made me the man I am today. What makes you so sure I won’t suffocate you with my bare hands- I’ve done it before and Ill do it again.

Do you believe in fate detective? I did when I killed my girlfriend in cold blood since then I’ve been going through a change. I’ve been murdering people. I killed three people two I had no care for but the other- I killed the love of my life, since then I have been having these hallucinations I’ve been seeing double. I’m sorry detective I have no more answers for you.

HarleyQuinnCharacterscript I’ve made so many mistakes and there’s no one left who believes in me. There was a time when he believed in me- but he left me all alone without a care in the world for my feelings. We were in love Mr J and I, but he betrayed me by caring more about his nemeses and becoming the clown prince. He told me he would never change I was wrong he did change! There comes a time when a girl wants more in life than the life she already has. I could have loved you forever but then you broke my heart. Anarchy(VictorZsasz)CharacterscriptThey laugh at me because I’m different I laugh at them because they are all the same. Silence is the most powerful scream. Can you imagine the vagrant surprise when I wrapped my hands around his throat? It was beautiful. I sliced out his throat and gave him the gift of salvation. The blood sprayed over my face and I saw what little life was left in his eyes. (Zsasz cuts a tally mark on arm.) You can imagine how lost I felt but I felt this accumulation of rage and the addiction to kill again, Detective you should stay back my heart is beating with rage I can hear your heart beating makes me want to rip your guts out. Would your family miss you if I killed you on the spot? What if I slit your throat I would feel your thick blood trickling down your throat as you reach your death!

How do you kill the demon inside you without killing yourself? I will kill you now, Goodbye Detective Gordon Weworkedcloseronthepoetrysideofthingsandcontinuedtodevelopthescriptoneachcharacterfurtherfinalisingthescript. Script

Opening scene-All characters sitting down head looking down. No spotlight but evidentially we can see outline of characters- heartbeat sound starts and all characters look up with a spotlight on them at the same time. They stare in to camera as if into a mirror. Addressing audience with accusatory.

Complexity (Riddler)

I'm a bloody walking paradox (smirking)

...No I'm not? (Holds hair tightly in distress)

(Uh) DONT TOUCH MY ICE COLD SKIN! (Sheepishly) you will burn yourself it’s hot

And now people say I’m crazy? (Laughing whilst talking-deranged behaviour)

Well I'm subject to hazy

Dreams, the night brings the devil to me

Even Jesus says I can’t redeem myself

Summoned by the bell I follow him in the burning pits of hell

Black and blue,

The flames so the bruising but it was you! (Angry)

That committed to loosing me.

It could be called bitter sweet

The Taste of vodka in your mouth (tut tut) Felicity you must have drank it neat

The blood through your veins and on to the bathroom floor

What more...

Evidence could there be? (Panic sound whilst talking)

I didn't break the law

I only wrapped my hands around your throat for a moment (hand movement-crushing action)

I didn't stop because I wanted to… There was gas between my hands and its components and well I will only crack my fingers if I can crack all 10

Because if I can only crack 9 then I’ll just start again (smirk on face, raised eyebrows-wide eyes)(laughter)

The second I looked at her everything changed, she was dead in my arms. (Sad expression and emotion)

Although I'm NOT odd!

Numbers LIKE me they send lighting bolts down my spine

(Sniggers) I'm sorry detective I have no time for your questions; this is not a hot line.

Although I do love questions, let me ask you. What’s black and white and red all over? I need your answer because you’ve already got mine.

Trickster (Joker)

Gravity. Madness is like gravity; all you need is a little (pause)- Push. (Laughter at the end) Just to take off. Well you seem tense officer (wriggles body when saying ‘tense’) Would you like to see a magic trick officer? Handcuffs disappear (whips out Pack of cards)

There are queens and kings and then there’s me

(Lays cards on desk/shows camera cards)

You know… Royalty…. Are taught not to express emotion … it makes them weak (lowers voice, crushed hand movement)

Is that why they place me beneath the law?

Because I have a smile engraved on my face bigger than you’ve ever seen? (Laughter after talking)

But I am the alpha. The underdog wouldn’t dream!

Of turning over the liars and cheats

That collapses a whole globe with their power from Wall Street!

Well knock knock ... who’s there? It’s me. (Laughter)

I did that. And I will set fire to every building (evil tone) just to laugh and too see

Myself skip away with a bag full of disposable copies of our founding fathers and queens. (Quivers-almost sensitive topic)

I can see that your scared, me? I can draw fantasy from every form of external reality

While your concern surrounds yourself with cells you are scared of escaping your sanity

(No no no) officer I get it (puts hands up –low), you’re scared of being alone, you don’t know how to survive the loneliness

I was once like you, back when I was young

I destroyed the lives, those around me, those closest to me

But you see detective when I’m evil I’m better. (Laughing-laugh echoes) looks up whilst laughing.

HARLEQUINN

Trickster, Was a sweet boy?

A fire in his belly and a glare in him set to destroy

I was Harleen; I was his reformer, his guidance

My eyes met with his and I said ‘I see the sorrow behind your smile and the reason behind your silence’

Passion leapt out of his chair, he just cracked under pressure His smile evolved to that of a Cheshire

He clutched my arm and said, “ Yes your highness

But let’s not forget, pressure forms diamonds.”

They say that man is a savage under the skin

But there’s nothing more attractive than a man wrapped in sin

I chose to leave those white walls and padded cells

On top of mountains of bomb shells

I didn’t have a choice,

Until I untie his hands and until I set him free

I’ve made so many mistakes and there’s no one left who believes in me anymore he ripped my heart out and stitched it to my sleeve

I see a sweet madness in myself and mind what do you see detective?

Do you see little old me?

This feeling I have it erodes through my purity like lava

I haven’t felt this since I was at the hand of him, the man that I’m most afraid of.

Anarchy (VICTOR)

My father! He had the most accurate conclusion

He left the dock and sailed away from this meaningless illusion

You see life isn’t what it seems

Time just fills a void until it bursts at the seams

I was born in to a losing battle where I was swimming upstream

And the rapid tides where rapidly battling me

I fought every tide that had passed and every wind that had blown past me.

And I eventually got the hint; even nothing is ridiculous when you have nothing alone.

So in my father’s image I fled on a quest for hope

Wrapping rings of comfort round my neck and embraced the end of a rope

My light was fading and I finally felt satisfied

Until some selfish unravelled the end that I tied

The end cannot be over; I will not be over my blade

So just to thank you I’ll drive it through your brain

Say hello to my Mother and father in the crimson river of blood (evil smirk)

And let that river run through that hole, let it cause a flood

I will store that liquid in bottles along with your tears

So that I will never feel thirst for the rest of my years

Before you go, I just want to say thank you for giving me purpose in life

Ending your life isn’t scratching the surface I will create chaos within the storm that never was.

And when I am finally vulnerable to the death and its charm

I will have all of my victims engraved on my arm.

Storyboard & Shot-list

Fade in- 4 separate screens show all 4 characters looking down with the sound of a heartbeat gradually getting faster. Lights are on characters (spotlight) all look up at same time. Riddler monologue. The shots that will be used are mid shots and close ups. Joker’s character will show extreme close up shots for this character, mid shots and side shots. Harley Quinn shots will be mid shots and close ups. Victor Zsasz shots will be close ups, side shots, mid shots. Another technique used will be hand held spinning around the character of Riddler to convey his hallucinations.

Shot list

TheShotsthatwillbeusedare;Mediumshotscloseupshots,extremeclose-upshotsincludingsomehandheldshots.Cutinshots,

Mid-Shots

Shows some part of the subject in more detail while still giving an impression of the whole subject. MS is appropriate when the subject is speaking without too much emotion or intense concentration. the mid shot allows room for hand gestures and a bit of movement.

Close-Upshots

a certain feature or part of the subject takes up most of the frame. A close up of a person usually means a close up of their face (unless specified otherwise). A close-up of a person emphasizes their emotional state a close-up exaggerates facial expressions which convey emotion. The viewer is drawn into the subject's personal space and shares their feelings.

Extremeclose-up

Gets right in and shows extreme detail. You would normally need a specific reason to get this close. It is too close to show general reactions or emotion except in very dramatic scenes.

HandheldShot

Camera is held in the camera operator's hands as opposed to being mounted on a tripod or other base.

The mid-shots will be used for most of filming- especially at the beginning of “into the Darkness”- shown in storyboard. The close up shots will be to show the actors expressions especially for the riddler and joker character. At the moment I see their only being two extreme close up shots. And I would like to use the handheld technique on one of the character- Riddler which will visually show the character spinning which is why handheld will be useful. OtherTechniques Selective focus-Bokeh effect Sound Echoing Ghosting Time-lapse effect.

Selective Focus Time lapse, ghost effect

CharacterDescriptionRiddlerEdwardNygma(Ed)isaforensicscientistfortheGothamcitypolicedepartmentwithanobsessionwithpuzzlesandspeakinginriddles.EdearnedhisdegreeatGothamCityUniversity.EdisacolleagueofdetectiveJimGordon,presentingevidenceforcases.Heharboursunrequitedfeelingsforaco-worker,KristinKringle,continuingtowoohergivingheracupcakewithabulletinit-representingthata‘beautifulwomenisadangerousthing’.EdfindsoutthatKristinhasstarteddatinganofficer-inwhichhebecomeshurt.EdnoticesbruisesonherarmthatwereofherboyfriendTom’sdoing.InfuriatedbythisEdconfrontsTom.WhenTomshowsupNygmatellstomheshouldleaveKristinandleaveGotham-inwhichrealisingedhasacrushonNygmahepuncheshiminthestomach,butbeforetomcangoinforasecondpunchEddrawsoutaknifeandstabshim.Hisfirstkillisameaninglesskill,hehadnocareforhim,howeverhissecondkillisKristin-thewomenhelovesonceheconfessestokillingtom.He escapes detection, but suffers a mental breakdown. In which we see him develop and become ‘the riddler’.

JokerJeromeValeskawastheleaderofthemaniaxandaformerinmateatArkhamAsylum.Jeromewastoldbyhismoitherthathisfatherwasaseacaptain(SvenKarlsen)whodiedwhilstoutatsea.WhenJeromewas9yearsoldhismotherhadsexualrelationswithaman,wholaterintentionallybeatJeromeup.Hewaslatertoldthat‘theworlddidn’tcareabouthim’thatwasbettertorealizeitthenthanlateroninlife.SickofhismothersconstantnaggingandhavingsexualintimacyintheroomnexttohimJeromekilledhismother,inwhichhewasquestionedbyDetectiveGordontolaternotonlyfindoutthathisfatherwasinfactcicero-knowinghimwithoutknowinghewashisfather.JeromewasthentakentoArkhamasylumforhiscrime.Jeromelaterescapeswiththreeotherprisoners,tothenlaterwreakshavocamongGothamCity.WithallthevictimshekilledincludingtheGDPDpolicecaptainhelaterkillshisfatherforallthepainhehascaused.ThemayortobeputsonashowandJeromehashislastlaughingandiskilledbyTheo.

HarleyQuinn

Dr,HarleenFrancesQuinzel,laterknownasHarleyQuinzelwasaninternasJokerspsychiatricdoctoratarkhamasylum.Harleylaterbecameenamouredbyjoker.Shebecomecompleteddevotedtojoker,totallyobliviousofhispsychoticandobviouslackofaffectionforher.JokerfascinatedHarleywhilstshewasstilladoctorandshevolunteeredeagertoanalysehim.AfterhegainedhersympathyJokerseducedher-causinghertofallmadlyinlovewithher.AfterhelpingjokerescapefromarkhamasylummorethanonceHarleywassuspectedfromtheauthoritiesthatlaterrevokedherlicence.HarleyFledandchangedhernametoHarleyQuinnandbecamethesidekickoftheclownprince.She's casually homicidal, gleefully amoral, and mentally unbalanced. She shredded her Hippocratic and began a crime spree that would make Bonnie and Clyde wince. Harley is occasionally made the world a better place — but it's usually by accident and never for truth, justice, and the American Way.

VictorZsaszVictorZsaszwastheheadofhisowninternationalcompanyandhadcompiledalargepersonalfortuneinadditiontohisfamily’swealth.Attheageof25hisparentsdiedinaboatingaccident,sendinghimintoadeepdepression.Heturnedtohisgamblinglosingmoneyincompetitionsaroundtheworld.Heeventuallysquanderedhisentirefortune,bettingeverythingagainstthepenguinatGothamcasino.AfterlosingagainstPenguinVictorherealizesthathislifewasempty;drivenbydesire,andtherewasnopointtohisexistenceWhilstVictorwasattemptingtocommitsuicidebyjumpingoffGothambridge,ahomelessmantriedtoassaulthimwithaknifeafterherefusedtogivehimmoney.Instinctivelygrabbingtheknifezsaszsawintotheman’seyesthatlifeismeaninglessandthatnothingnoranyoneelsematters.Hethenproceededtostabthemantodeathasa‘gift’forsavinghislife.Fromthenonzsaszdedicatedhimselftoliberateothersfromtheirpointlessness.Zsaszbeganatallymarkonhisbodythatwouldgrowtoincludemorethan143scars.

CharacterisationRiddlerEdwardNygmaA.K.ARiddler*Complexity*

• Intelligent• Calculating• Kind• Caring• Meticulous• Observant• Narcissistic• Infatuatedbyhisintelligence• OCD• Sociallyawkward• Sociallyclueless• Unintentionallyinsulting• Selfish• Alternatepersonality• Autismspectrumsocially• Personalitydisorder• Manipulative• Sadistic• Anti-socialbehaviour• Seeshallucinations• Developmentpersonalitydisorder• Ego-mania• Aggression• Exceedinglyarrogant• Belittling• Twisted• Ruthless• Complex• Emotionalinstability• Compulsiveneedforattention

Joker*Trickster*

• Theatrical• Comedic• Super-sanity• Ultra-sensoryperception• Notruepersonalityofhisown• Heightenedsenseofself-awareness• Homicidal• Psychopathic• Ruthless• Sadistic• Maniacal• Lunatic• Manipulative• Intelligent• Diabolicalmastercriminal• Likeschaos• Likewreakinghavoc• Comical• Bouncy• Silly• Overthetopvoice• Malevolent• Murderous• Cunning• Vicious• Breakingoutintohystericallaughter• Sinister• Amusement• Anarchic• Clownishappearance• Duplicitous• Exasperating• Quick-tempered• Egotistical• Impulsive• Unpredictable• Immoral• Spiteful• Persistent• Selfish• Likesmagictricks• Nihilistic

HarleyQuinn

• Conflictingpersona’s• Rational• Identitycrisis• Obsession• Compassion• Loyal• Intelligent• Immature• Highpitchedvoice• Playsdumb• Sane• Gullible• Addictiontosignificantothers• Dependentpersonality• Suffersfrombatteredwifesyndrome• Passive-aggressivepersonalitydisorder• PTSD• Histrionicpersonalitydisorder• Loudvoice• Seekapproval• Definesherself• Neglected• Physicalabuse• Innocentwoman• Forcedbythehandofjoker

VictorZsasz*Anarchy*

• SerialKiller• Extremeintelligence• Psychologicaldisorders• Psychopath• Depression• OCD-cutstallymarksonbody• Borderlinepersonalitydisorder• Sociopath• Noremorse• Murderer• Manipulative• Getswhathewants• Nocareforhumanlife• Obsessionwiththeneedtokill• Threatening• Deranged• Unpredictable• Coldkiller• Soulless• Vicious• Disorientated• Tohavepurpose• Creepyvoice• Brutalcharacter• Existential• Darknesswithin• Angry

Costume&makeupdesignCostumes

Twot-shirts.Twoshirts.Braces/bowtie.Onepairofjeansandthreepairsofmen’strousers/4pair’sshoes.

MakeupIwillbeusingagrungydarklookingeffecttoblendinwiththethemalsoitwillbeeffectiveagainstthelightwhenshooting.Forthefemaleroleredeyeshadowaroundeyesandeyelidswouldbeeffectivetoo.

Iwouldalsoliketoshowafewcutstomakeiteffective.

VisualisationEquipmentBookedManfrotto 116 MK2- BM URSA 19/01.2016 Rode Shotgun MIC * & XLR Lead 19/01.2016 3 × Arri Fresnals 19/01.2016

Rode 4M Fish pole YR2 19/01.2016 Panasonic GH4 DSLR DMW-YAGHE 19/01.2016 To book (to consider) Cine lenses? Stabilization systems? LED DSLR Cannon 70d-photography/behind the scenes footage 35 mm lens. selective focusing. Lighting Spotlight technique.

The effect of blue on character would be very effective against the theme of darkness.

Cast Trickster (The Joker)- Daniel Brindley Complexity (The Riddler)- Ngqabutho Nkomo Harlequin (Harley Quinzel)-Victoria Izzard Anarchy (Victor Zsasz)- Jordan Harris

Daniel Brindley Victoria Izzard

Jordan Harris Ngqabutho Nkomo

Crew Director-LydiaDwekProducer-LydiaDwekScriptwriter-NiamhQuinlanCo-Scriptwriter-LydiaDwekCinematographer-ArtursReinholdsDirectorofphotography-LydiaDwek&ArtursReinholdsLighting&Sound-LydiaDwekRunner#1-NiamhQuinlanRunner#2–LydiaDwekCostumeDesign-LydiaDwekMake-updesign-LydiaDwekProps-LydiaDwekCasting-JuliaCowell&LydiaDwek

Schedule

SHOOTINGSCHEDULEUniversityForTheCreativeArts

Into the Darkness SHOOTINGSCHEDULE

Filming dates: 19th & 20th January 2016

4:30- 8:00pm PRODUCER:LydiaDwekDIRECTOR:LydiaDwekRunners:LydiaDwek&NiamphQuinlanCinematographer:ArtursReinholds&LydiaDwekLighting:LydiaDwekDirectorofPhotography:ArtursReinholds&LydiaDwekSound:NiamphQuinlanDATE SET/SCENES CAST LOCATION19.01.2016 Shot4.Scene#6Trickster(Joker)DanielBrindleyUcaStudioG27Looksup.Shot5.Scene7#StartsdialoguewithawittySpokenword.Scene8#

doesmagictrickwith Handcuffsandwhipsoutplayingcards.Scene8# startstobecomeaggressive. Expression:jokeyShot6.Scene9#

Dialoguecontinuestotheendandfadesout.Shot6.Scene9#

Dialoguecontinuestotheendandfadesout. Notes:Aftereachcharacterhasf Finishedtheirowncharacters

DialoguetheywillthenbegintoRepeatthedialoguebutanotherCharactersdialogue.

Costumes:Wearingawhitet-shirt,

Blacktrousersandpumpshoes. Makeup&hair:Darkeyes,Gelledhair

.Cutsareshownoncharacter_____________________________________________________________________________________ DATE SET/SCENES CAST LOCATION19.01.2016Shot1.scene1#Complexity(Riddler)NgqabuthoNkomo Studio G27Looksupinanger-startstalking InfrustrationtriestoripouthairWith anger.Scene2#Laughingmadly,Smirking,

Set/scenesNotes

ENDOFFIRSTDAY#2DATE SET/SCENES CAST Location 20.01.2016Shot8.Scene13#Harlequin(HarleyQuinzel)VickyIzzardStudioG27

looksupIndespair, asifshehaslostherself.Scene14#

whenshetalksabout TricksterHerexpressionisahappyOne,

butalsoFullofhatredtowardsHimandhowheTreatedher.

Scene15#SherecallsherpastwithMrTricksterandtheabusefromherAbusivefather.

Scene16#SheconfessesthatsheDoesn’tknowwhosheisAnymoreWithoutTricksterandthatnobody

BelievesinherAnymore[Fadeout]Notes:AftereachcharacterhasFinishedtheirowncharactersDialoguetheywillthenbegintoRepeattheDialoguebutanotherCharactersDialogue.ENDOFFIRSTDAY#2DATE SET/SCENES CAST LOCATION21,01,2016Shot7.Scene10#Anarchy(victorZsasz)JordanHarrisStudioG27 LooksupspeaksinaHumorousWaywhenspeakingAboutdeath.Scene11#

carriesonwithhisDialogue,withangerandathirstfortheBloodlustandcompulsiontokill.

Scene12#aggressionshown

Scene13#triestoaggravatetheDetectivewithHisthreatsofviolence.(Fadeout)

ENDOFSECONDDAY#2.ENDOFFILMING

Scene3#CarriesonwithdialogueMannerismsandtraitsAreshown.Shot2.Scene4#

Interactswiththedetective.Theoreticallyheisbehindthecamera.Shot3.Scene5#

Endscenefadesout.

ComplexityshowsalotofalotofEmotion. PROPS:HandcuffsMAKE-UPBlack/darkmakeupAroundeyes.

LOCATIONS # Location Address Parking Contact 1 University for the

creative arts, studio G27

Falkner Rd, Farnham, Surrey GU9 7DS

University Parking 01252 722441

SET REQUIREMENTS Props: Handcuffs Special Effects: Makeup blood effects Vehicles: N/A Wardrobe: 4 pairs of jeans, two shirts one t-shirt, bow tie and braces. Makeup: dark makeup/cuts effect .

Producer NAME Lydia Dwek PHONE NUMBER: 07548358680

Director NAME: Lydia Dwek PHONE NUMBER: 07548358680

Cinematographer NAME: Arturs Reinholds. PHONE:

Director of Photography NAME: Arturs Reinhold’s & Lydia Dwek. PHONE: 07548358680

Script writer NAME: Niamph Quinlan PHONE: 07999035450

CALL TIME 5:00pm

Call time 4:30pm Crew

Break 6:00pm

Nearest Hospital to Set Portsmouth Road, Frimley, Surrey GU16 7UJ. Phone: 01276 604604

Datesoffilming

Cast Role

19.01.2016 DanielBrindley

Trickster(Joker)

19.01.201620.01.2016

NgqabuthoNkomo

Complexity(Riddler)

20.01.2016 VictoriaIzzard

Harlequin(HarleyQuinzel)

21.01.2016 JordanHarris Complexity(Riddler)

Cateringwillbeprovided

Student Film Release Form Name of Film… IntoTheDarkness Name of University…University for the Creative Role on set…… plays the character of the “Trickster” Date of Filming ...... 19.01.2016 Name of Contributor ............Daniel Brindley Email address of Contributor…………………………………………………... Contact Number of Contributor …07884013059…………………………………………………………… In consideration of the Organiser agreeing that I contribute to and/or participate in the Film, the nature and the content of which has been fully explained to me, I consent to the filming and recording of my contribution to and/or participation in the Film subject to the terms and conditions specified below. Signed by Contributor ………………………………………………………………………….. Dated……………………………………………………………………………………………….. If the Contributor is from the age of 18 or under this form must be signed by a Parent or Legal Guardian. I consent to [ ] entering into this agreement. Signed by Parent or Legal Guardian ............................................................................... Dated ....................................................................................................................................

Terms and Conditions

1. I irrevocably and with full title guaranty assign to the Organiser all rights now or hereafter existing in the products of my services in relation to the film and agree that the Organiser shall have the sole right to deal with the Film containing such contribution or any part of it in any way that he/she thinks fit. I agree that the Film incorporating my contribution or any part of it may be exhibited or otherwise however exploited in all media and formats now and hereafter created throughout the universe for the full period of copyright and in perpetuity.

2. I waive any so-called "moral rights of authors" in the Film and such rights under

section 77 and section 80 of the Copyright Designs and Patents Act 1988 (“Act”) as I now have or hereafter acquire in relation to the Film. I irrevocably grant the Organiser all consents under Part 11 of the Act in perpetuity.

3. The Organiser may without my further consent use my name, likeness, biography

photographs and recordings of interviews with me in exploiting, advertising and publicising the Film in all media and formats throughout the world now or hereafter created.

4. The Organiser and its assignees and/or licences shall not be liable to me or my

legal representatives for any loss or damage or injury to me or my property caused or suffered in connection with the Organiser's making of the Film unless caused by the negligence of the Organiser and recoverable on that ground and in the event of any breach by the Organiser I agree that I will not be entitled to injunct the Film.

5. I agree that the contribution shall not contain anything which is an infringement of

copyright or which is calculated to bring (name of Organiser) into disrepute or which is defamatory provided however that the Organiser shall not be entitled to bring any claim against me in respect of any defamatory material that was included in my contribution without negligence or malice on my part.

6. I confirm that the terms of this agreement have been explained to me and that I

understand them.

7. This agreement is the entire agreement between me and the Organiser relating to the Film and is governed by the laws of England and Wales.

As the Producer I evidentially confirmation the actor’s consent. SignedbyProducer……………………………………………………………………………Dated……………………………………………………….

Student Film Release Form Name of Film… IntoTheDarkness Name of University…University for the Creative Role on set… plays the character of ”Complexity” Date of filming ...... 19.01.2016/ 20.01.2016 Name of Contributor ............ NgqabuthoNkomo Email Address of Contributor…………………………………………………………………. Contact Number of Contributor ……………………………………………………………… In consideration of the Organiser agreeing that I contribute to and/or participate in the Film, the nature and the content of which has been fully explained to me, I consent to the filming and recording of my contribution to and/or participation in the Film subject to the terms and conditions specified below. Signed by Contributor ………………………………………………………………………….. Dated……………………………………………………………………………………………….. If the Contributor is from the age of 18 or under this form must be signed by a Parent or Legal Guardian. I consent to [ ] entering into this agreement. Signed by Parent or Legal Guardian ............................................................................... Dated ....................................................................................................................................












understand them.



Student Film Release Form Name of Film… IntoTheDarkness Name of University…University for the Creative Role on set… plays the character of ”Anarchy” Date of filming ...... 21.01.2016 Name of Contributor ..........Jordan Harris Email Address of Contributor…………………………………………………………………. Contact Number of Contributor ……………………………………………………………… In consideration of the Organiser agreeing that I contribute to and/or participate in the Film, the nature and the content of which has been fully explained to me, I consent to the filming and recording of my contribution to and/or participation in the Film subject to the terms and conditions specified below. Signed by Contributor ………………………………………………………………………….. Dated……………………………………………………………………………………………….. If the Contributor is from the age of 18 or under this form must be signed by a Parent or Legal Guardian. I consent to [ ] entering into this agreement. Signed by Parent or Legal Guardian ............................................................................... Dated ....................................................................................................................................












understand them.



Student Film Release Form Name of Film… IntoTheDarkness Name of University…University for the Creative Arts Role on set… plays the character of ”Harley Quinn ” Date of filming ...... 20.01.2016 Name of Contributor ..........Victoria Izzard Email Address of Contributor…………… [email protected] Contact Number of Contributor 07477149849 In consideration of the Organiser agreeing that I contribute to and/or participate in the Film, the nature and the content of which has been fully explained to me, I consent to the filming and recording of my contribution to and/or participation in the Film subject to the terms and conditions specified below. Signed by Contributor ………………………………………………………………………….. Dated……………………………………………………………………………………………….. If the Contributor is from the age of 18 or under this form must be signed by a Parent or Legal Guardian. I consent to [ ] entering into this agreement. Signed by Parent or Legal Guardian ............................................................................... Dated ....................................................................................................................................












understand them.



Additionalsignoffsheet

BA (Hons) Digital Film & Screen Arts RISK ASSESMENT

Production title: INTOTHEDARKNESS The contents of this risk assessment must be communicated to all students, staff, contractors, actors and persons involved. In the case of a studio production a copy of this assessment must be displayed on set.

Campus: Farnham UCA Course: Digital Film & Screen Arts Unit Year 3 Group Student Producer name & phone number (NB - all students are responsible for safety in production): Lydia Dwek . Phone: 07548358680

Unit leader(s): Rosie Gunn Proposed date(s) and times(s) 19th & 20th January 2016

Travel/Set up date(s) / time(s):

Shooting date(s) / time(s): 19th/ 20th January 2016- 5:00-8pm

Pack down/travel date(s) / time(s):

1. Exact location of filming, including address & post code.

University for the Creative Arts. Studio G27 Falkner Rd, Farnham, Surrey GU9 7DS

1a. Location Permission

Mark where you are at with an X

Yes

In the process of getting it (incl details of where you have got to – i.e.

email confirmation)

No

N/A Do you have signed location permission? X From Tutor

Does your location require you to complete their own risk assessment? If so, attach it to this risk assessment.

N/A

Have you notified the local Council and Police? You must do so if you are doing any of the following: • Filming in a public place • Using weapons • Have cast in uniform

N/A

1b. Address & phone number of nearest Walk-in Centre or Minor Injuries Unit

Portsmouth Road, Frimley, Surrey GU16 7UJ 01276 604604

1c. Nearest bus and train stops to location / local taxi phone number

Farnham station Taxi number: 01252 715600

1d. Fire / emergency plan

Nearest fire exit. Go to car park

1e. Work facilities – food & drink, toilets, secure storage etc

Toilets located around studio, food facilities in building and storage and space for equipment.

2. Brief summary of set & nature of

Low lit set. Not much strenuous activity going on

filming / activity

3. Names and contact details of the production crew / cast / documentary participants. Add extra lines as you need to.

Name:

Role:

Contact number

Lydia Dwek Producer, Director, Director of photography, Props, costume designer, makeup designer, co-script writer.

07548358680

Arturs Reinholds Cinematographer, Director of photography

[email protected]

Niamph Quinlan Script writer, Runner

4. Identify potential hazards; who could be affected; how they could be affected; and list the control measures that will reduce the risk. University H&S policies can be found here.

Hazards or hazardous activity

Who may be affected? Crew, actors, participants (documentary), crew, helpers, public.

How may they be harmed? Type of injury or health problem that might result i.e. cuts, bruises, fractures, electric shock, burns etc.

List the control measures you will put in place to reduce risks from the hazards to an acceptable standard Control measures should ultimately reduce the overall risk. Do not purely rely upon providing Personal Protective Equipment or rely on just ‘being careful’

Evaluate the probability and consequence

Indicative values for P column (P = Probability) L = might happen, but unlikely

M = could happen H = will probably happen

Indicative values for C column (C = Consequence) L = can return to filming work after minor attention

M = person unable to work for 3 days or longer H = permanent injury or death

P C

Access/ Egress N/A N/A

Aircraft / flying N/A N/A

Allergens N/A N/A

Animal N/A N/A

Audience / public N/A N/A

Boats N/A N/A

Compressed gas / gas

N/A N/A

Confined spaces N/A N/A

Cranes, hoists, lifts & access platforms

N/A N/A

Derelict buildings, dangerous structures

N/A N/A

Diving operations N/A N/A

Electricity Crew, actors ElectricShock

Stay away from Hazardous electrics Person unable to work for 3 days or more

Falling objects Crew, actors Bruises/Fractures.

Make sure any likely objects to fall are stable Can return to filming work after minor attention

Fire Crew, actors Burns

Make sure anything electrical prone to use fires are safety checked beforehand Can return to filming work after minor attention

Generators Crew, actors Electric Shock

Stay away from Hazardous electrics Can return to filming work after minor attention

Glass N/A N/A

Hand tools N/A N/A

Hazardous chemicals N/A N/A

Heat / cold Crew, actors Cold. Hot weather

Switch on/off radiator/heater Can return to filming work after minor attention

Inexperienced / children / vulnerable persons

N/A N/A

Location Lighting Crew, Actors Eye strain, dizziness

Make sure lights are not directly in eye view. Can return to filming work after minor attention

Machinery N/A N/A

Manual Handling N/A

Mines, excavations / tunnels / quarries

N/A N/A

Noise N/A

Physical exertion N/A

Poor visibility / night shooting

N/A

Roadside working, traffic, vehicles

N/A N/A

Scaffolding N/A N/A

Speed (running or other sport - not vehicles)

N/A N/A

Stress Crew, Actors Panic

Make sure everything is organised beforehand Can return to filming work after minor attention

Stunts N/A N/A

Trailing cables Crew, Cast Bruises, Fractures

Make sure cables are taped down to floor Can return to filming work after minor attention

Messy environment (equip / props)

Crew, actors Tripping over

Make sure environment is tidy and organised Can return to filming work after minor attention

Violence, aggression, public disorder, war

N/A N/A

Visual effects: smoke, snow, fireworks

N/A N/A

Water N/A N/A

Weapons N/A N/A

Weather N/A N/A

Lone working N/A N/A

Working at height N/A N/A

Other (list and add rows if necessary)

N/A N/A

Mark an X next to your choices 5. With control measures in place what is the likelihood of an injury or health effect? Minor

1 Moderate 2

Major/Fatal 3

6. How likely is the most significant hazard to cause harm?

Unlikely 1

Likely 2

Very Likely 3

7. Calculate the risk score (use the figure which represents the highest risk of all present hazards)

Low 1−2

Medium 3−4

High 6−9

13. Signatures The names below are confirming the date that they have read and discussed this risk assessment with the production team. Based on the information supplied on this form it is noted that the control measures are considered appropriate and proportionate to the hazards identified. At all times, students retain responsibility for their own safety and for those around them.

Student Producer: Lydia Dwek Date:

Production Coordinator: Lydia Dwek Date:

Unit Tutor: Rosie Gunn Date:

Technician/Tech Tutor (supervising if studio based): Date:

Estates Services Manager (where UCA routes, building features etc are impacted): Date:

Resources Co-ordinator/Manager (Medium/High Risk): Date:

Course Leader: (High Risk/International Shoot): Rosie Gunn Date:

Health, Safety & Wellbeing Advisor (High Risk/International Shoot): Date:

Executive Dean (International Shoot): Date:

DIGITAL FILM SCREEN ARTS. YEAR: 3

NAME Lydia Jessica Leah Dwek DATE: 27/09/2014 LEARNING AGREEMENT PROFORMA. Deadline for submission: GROUP PRODUCTION SOLO PRODUCTION x

Into the darkness UNIT CREDIT

Information: - This form is a basic list of requirements. You should write as much as you need to describe what you intend to undertake and methods employed to achieve this work.

DESCRIPTION: (You should describe in detail here the work you intend to undertake in fulfilment of the module’s Aims and Learning Outcomes. In doing this you will need to make reference to the module descriptor in the Programme Handbook) Experimental20minutefilmbasedonthearchetypesoftheHollywood,Batman/GothamcharactersincludingtheRiddler,Joker,HarleyQuinnandVictorZsaszasdescribedincharacteroutlineonthesyndicatedGothamCitywebsite.Thesedescriptionsprovideananalysisandapsychologicalbackgroundtothesadisticerratic,behaviouroftheircharacterswithinthenarrativesoftheBatmanseries.Iintendtousetheseasthebasisofmyfilm–enlistingselecteddramasstudentstoenactthesecuestomakevisualobservationsofhowthesecharacteristicsarepresented–viagestures,mannerisms,speechpatterns,facialexpressions,fidgeting,tapping,mood,emotion,usingtheirbackgroundmightbeusefulforthewrittenscriptmonologues.Iaminterestedinhowthebodyexpressesinnerstatesofmind.IwouldalsoliketoconsiderusingthecharacterJimGordonasatheoreticalfigureasheiswellknownforaphysicallynormalmentality.OnceeachcharacterhasspokenIintendtorepeattheirmonologuesbutfortheactorstoswitchroles. RESEARCH: Academic reference material, sources and contextual materials Batmanserieshttps://www.google.co.uk/search?client=safari&rls=en&q=%22Iconographie+photographique+de+la+Salp%C3%AAtri%C3%A8re%22+(Jean+Martin+Charcot,+1878)&ie=UTF-8&oe=UTF-8&gfe_rd=cr&ei=MGQOVqnsGIvu8we1krKQDwMadnessandcivilisation.StereotypesActingskills–improvisation

• Theartofimprovisation:videorecording:KeithJarrett• Larryfinkoncomposition&improvisation• Impro:improvisation&thetheatre:KeithJohnstone

Howtodirectactors–Infilm

• http://www.amazon.co.uk/Impro-Performance-Books-Improvisation-Theatre/dp/0713687010ProductiontechniqueDirectingfeaturefilms:thecreativecollaborationbetweendirector,writers,andactors/editedbyMarkW.Travis.

• Directingactors:JudithWestonEFX–trials-superimpositionsSKILLS AND RESOURCES: Identify the technical and networking skills you will need to develop and the resources you intend to use SKILLS: Editing Location production Production methods – release forms etc. Post production organisation WEB BASED RESOURCES: • LYNDA.COM

- UCA website - YouTube

WORK PLAN/TIMETABLE: 2nd October – Script – work with Niamh. – 2 ten-15 minute monologues.

- Visual treatment – look at split screens – black spaces – lighting techniques – 3 point lighting. - Characters – are they female or males/ am I playing with gender issues and mental illness.-Both

4th -10th December-Develop and finalise script 1st -18th January- Find cinematographer, sort out costume design/makeup design 20 (2 weeks duration; 2 days)- start filming Into the Darkness STUDENT SIGN: DATE:

TUTOR APPROVAL: TUTOR SIGNED:

DATE:

FilmingDaysDay 1 # 19.01.2016 Today was my first day of filming " Into the Darkness". We set up all our Equipment, which included: TV Journo Studio Key- G27 Manfrotto 116 MK2-BM Ursa Rode Shotgun MIC* & XLR Lead Nikon 17-35mm LENS 3 × ARRI Fresnals Nikon 50mm Lens Rode 4m Fishpole YR2 Nikon D5300 Kit 13 PANOSONIC GH4 DSLR DMW-YAGHE Here are some behind the scene photographs:

As soon as we set up the equipment it took a while to get the lighting set up in which i then put makeup on the actors ; Daniel & Ngqabutho Nkomo. once everything was set up ready to shoot the

first actor to start was Daniel. The shots that were mainly used were centre stage shots including one side view shot. I also asked Daniel to repeat his dialogue but from the character of

Complexity as his main character role was the Trickster. I then moved on to Ngqabutho Which we were a little bit behind on schedule. We started on a side view shot as this was the last position left from the previous actor. We then centred the camera in the middle for the main shots. The only shot we did not get was a centred shot of complexity switching roles with another character, however day 2 of filming we have scheduled Ngqabutho to come in early for us to shoot the last shots needed. In conclusion day 1 went quite well considering the amount of visual lighting needed. All we need to finish day 1 off with is complexity's revere role. Day 2 # 20.01.2016 Day 2 was more organised, however the only setback we had is that the actor who would play Victor Zsasz said he would arrive later but in the end it was too late to film him and we decided to give the role to someone else. We shot the rest of riddlers dialogue and only Harlequin.

Day 3 # 21.01.2016 Day 3 was just the character of Victor Zsasz filming. It went quite well and we did not have too many hiccups along the way.

Overall the shoot from day 1-3 went considerably well and was fun shooting and working with new people including the actors and the crew.

Post Production For post production I will not be editing into the darkness, however I have chosen Kiára Rychtarcíková to help edit my film whilst present I will give her concepts and ideas that I would like to be shown visually in my film. I will also be creating two edits in postproduction, one for the exhibition, which will show different visually. The other will be for the show reel, which can be shown in a different concept as the 4-screen concept.

productionpackinto the darkness

Documents