Short Film

Poster

Link to: the Poster.

Magazine Review

Link to: the Magazine Review.

Evaluation Question #4

ESSENCE

How did you use media technologies in the construction and

research, planning and evaluation stages?

In the very early stages of planning my short film, I used YouGov profiles to establish my target audiences. I did this by searching for the typical audiences of similar properties: Blade Runner, HBO (home to Westworld), and Nineteen-Eighty-Four. This told me that the primary audience for Essence would be males around the age of twenty-five, and my secondary audience would older males around the age of fifty. Because of these results, throughout pre-productions stages I made sure to keep the tone of my short film consistent; always keeping in mind that I would be targeting an older audience. This meant that when writing the screenplay and organising the storyboards, I could tell a mature story that wasn’t totally censored, as it might be if the demographic was much younger.

        Upon conducting further research into the making of my short film, I used Google to access all the resources I needed; using the ‘drive’ app to store my research notes, including my screenplay and various schedules. Thanks to the online function of Google Drive, this meant I could access any and all of my files in any place where I had access to the internet. I also had access to a surplus of devices including PCs, laptops, tablets, and mobile phones – all of which I could utilise to plan the production of my short film.

        A later aspect of the planning stage of my short film was the inclusion of the intertextuality within my product. I chose make clear allusions to ‘Superman: The Movie’ when nearing the completion of the screenplay. I did this as there are clearly narrative similarities between the story of Superman and my short film; but it also remains consistent with what the target audiences will recognise, as it of a similar time and it shares the same genre.

When it came to finally filming Essence, I made sure as much of the framing, inclusion of props, colour, lighting, etc., all had some kind of purpose for being as it was, and that all of these aspects told their own story: in the pre-title sequence, we begin on an establishing shot of quite an obscure little street. I chose to show this instead of something comparatively larger like a cityscape to immediately introduce the audience to the idea that this is a small-scale, more personal story. Furthermore, the colouring of this landscape initially is very bright, but as the text appears (inspired by Blade Runner), detailing the decline of this world, the colour and lighting changes to something much darker and more ominous. We finish this first segment by hearing the gunshot that kills Cam #42.

Going into the first proper scene, this is where I first chose to set the seed of the Superman comparisons, by showing the footage of Richard Donner film on an iPad. The main character, Ben #38 is watching it, establishing his connection with this particular story. It is also in this scene that I first employ the split screen technology to show the same actor portraying two different characters at once - this was done in post-production, but during the shooting I did it by keeping the camera in a fixed position, and then getting the singular actor to perform both characters in the one single shot. Finally for this scene, I introduce the villain’s motif in my original score.

In the second scene, I chose to make it black and white in post-production to further cement to the audience that this sequence is a flashback. This also come into play later in the final scene - the colouring of this scene becomes an important visual cue for the audience as the film goes on.

Towards the end of the second scene, and then at the beginning of the third scene, I chose to show a lava lamp on the desk. I chose to focus on this prop, as the imagery it creates is something that the protagonist strives for; a lava lamp is very kinetic, free-moving, and random. On a very basic level, Ben #38 wants this, but instead he is stuck in a very uniform, repetitive life. Furthermore, I chose to show some shots in this scene that were quite blurry. This is to portray Ben #38’s internal struggle, as he feels he has no true identity - this is what he strives to find by the end of the short film.

In the following scene, I reintroduce the Superman comparison by playing the Superman theme in my own score. This is what pushes Ben #38 to finally act, finally cementing the intertextuality in my short films.

Finally, in the last scene of the film, I colour the kitchen setting in a very clinical, eerie way (done in post-production) to portray the true nature of the ending of the film. This is a direct contrast to how the kitchen is shown earlier in the short film, when it is coloured in a much warmer way (subtly convincing the audience that the ending might be a happy one). All editing for my short film was completed on Adobe After Effects CS6.

Evaluation Question #3

Link to: the Presentation.

Evaluation Question #2

Link to: the Presentation.

Evaluation Question #1

ESSENCE

In what ways does your media product use, develop or challenge forms and conventions of real media products?

Before beginning the writing process of Essence, I looked into the various inspirations I had and noticed their shared theme of oppression, and what could be equated to the lower classes rising up. This includes the likes of ‘Blade Runner’ and ‘Blade Runner 2049’, ‘Nineteen-Eighty-Four’, and HBO’s ‘Westworld’. As a result of these influences, I also incorporated genre elements from them too; like with the slow-burn, and dark noir feeling of the Blade Runner films.

    In terms of genre, Essence is pretty separate from the above media as it is simply a sci-fi drama; it lacks the straight-up film noir feeling of Blade Runner, and doesn’t lean totally into the dystopian aspects of something like ‘1984’ (instead simply implying it). This is the same again with the Westworld influence - there are no western elements, nor is it very action-packed. However I have taken the bare-bones elements of what makes these properties similar and applied it to my own short film, which takes the form of Essence. It’s really in terms of aesthetic that I wear the influences for Essence on my sleeve, with the Blade Runner-esque opening text, the sometimes synth-style score, and the opening shot (and extreme close-up on a character’s face).

    From a story point of view, the inspiration would not be quite as obvious had I not make direct reference to it in my short film. This being the story of Superman. I saw the two characters’ journeys to be very similar, in that they are simply trying to find their place in a world that they don’t truly belong. As a result, I included very clear visual references and sound reference to ‘Superman: The Movie’. However where I wished to differentiate my film from Superman: The Movie was with how the character’s journey actually pans out. Where Superman obviously becomes the hero we all know, Ben #38 (my protagonist) instead is simply killed. I wished to portray a dark world in which if a clone (which is essentially a tool) ceases to function effectively, then are disposed of, as any tool would be. This is where I refer back to my former influences for Essence; the darker, more mature media that inspired me initially.

Screenshots of the Editing Process

Link to: the Screenshots of the Editing Process.

Creative Journey

ESSENCE

Creative Journey

My initial idea for ‘Essence’ came after reading the quotation, ‘existence precedes essence’, by Jean-Paul Sartre, and seeing Ridley Scott’s 1982 sci-fi classic, ‘Blade Runner’. I watched it in preparation for 2017’s ‘Blade Runner 2049’, and was inspired very heavily by it’s themes and universe - this was in September 2017.

When I realised after watching that I wanted to do a dark sci-fi in the spirit of Blade Runner, I quickly took to my laptop to write down as many notes and ideas as I could. Eventually I landed on the idea of Essence, involving human clones (in the place of Blade Runner’s ‘replicant’ characters), and setting it mostly in the confines of a house; this was due to having limited resources at my disposal. I wanted to make it as small-scale as possible without making it dull or boring. Because of my decision of the house setting, I initially thought of Essence as a sci-fi / horror film - it could be tense and dark, as the clone protagonist attempts to escape his life of servitude, and his abusive master. However, I decided to drop the horror aspects of the film in the screenwriting stage as these parts of the film took too much away from the plot, and didn’t quite work within the overall product.

So instead, I decided to bring the science fiction back to the forefront, and focus on making Essence as dramatic and emotional as possible. This lead to me developing the characters more, and fleshing out their motivations and reasons for doing what they do in the short film. For example, ‘Ben #38’ (the protagonist) is quite complacent at the beginning of Essence, and is fully accepting of his role as a clone. It is only until his best friend (another clone) is needlessly killed that the character begins going through a change, and decides that he will forge his own destiny. At this point, I was able to give Ben #38 a beginning, a middle, and an end; and goal to strive towards to show the progression of his character.

From the outset, even before the screenwriting stage, I decided that I would not go for the typical ‘Hollywood ending’ in my short film. I knew that I didn’t want Ben #38’s plan to be successful and that he would be ‘decommissioned’ by the end of Essence. I wanted to do this to fully cement to the audience what the world of my short film is truly like, and that what happens to Ben #38 is what happens to countless other clones everyday in this universe.

When I was done with the screenwriting, I produced the storyboards for Essence; where I decided how the short film would be visualised. I decided I would use a lot of tight and close-up shots to create a claustrophobic, almost suffocating feeling for the majority of Essence. Despite this, I still wanted to make room for more grandiose shots that were a bit more kinetic; so I applied a few of these more impressive shots when necessary to make the cinematography more varied.

The shooting for Essence lasted the span of nearly two months but was really only the work of around five days in total. As previously mentioned, most of the shoot was set in the house, but for some scenes it was necessary to be outdoors. This was the most challenging part of the overall shoot, as you have to try and film around the public and the noise of the outdoors. Filming indoors posed a different problem. Most of the time the lighting was artificial, and so it was nearly impossible to make it suit the scene the way I wanted it to - this had to be rectified in post-production.

Once filming was complete, it was straight to editing, which I left until the end instead of editing bit-by-bit as I filmed. Using Adobe After Effects CS6, I edited each scene in a separate tab to make it a little bit easier for me as an editor. Having each single element in one tab - of what resulted in a nearly seven minute short film - would have been far too overwhelming. The visual editing process took about a week to complete, taking me from late December to early January (this was the result of re-shoots I had to complete after I thought my initial filming was complete). In the editing, I tried to remain conscious of the pace of Essence, as well as continuity. Moreover, it allowed for me to apply colour-correction (affecting the hue, brightness, and saturation of each frame), and effects like the zoom and depth-of-field; all only when necessary to the shot, when it had a purpose. It was also here where I edited certain aspects of both diegetic and non-diegetic sound, including voice-over. Finally, I added credits to Essence.

After the lengthy editing process, I composed and performed the music for Essence myself. I decided to go for a simple piano score, as the instrument is versatile and suits many types of genre of film. However I still wanted it to feel like a classic film score, so I have various motifs that run through the film, such as the villain’s theme (belonging to ‘Original Ben’).

Once the score was applied, I then decided to add the song ‘Dear God’, performed by Lawless to the end credits of Essence, as I thought contents of the song could almost be from Ben #38’s point of view, and so it fit my short film perfectly. After doing so, I constructed an email to Virgin Records requesting permission to use the song. At this point, the short film was all complete; what remained now were the remaining print products, such as the poster and a magazine review in the style of Empire magazine. I wanted to keep the poster design quite minimalistic, and nothing too over-the-top, as this wouldn’t be representative of the slower pace of Essence. I took inspiration from posters for films such as Ridley Scott’s ‘Alien’, and Doug Jones’ ‘Moon’.

Intertextuality

ESSENCE

Intertextuality

In my short film I make both visual and sound references to Richard Donner’s ‘Superman: The Movie’. This is because I feel the journey Clark Kent is similar to that of my main character, Ben #38. He begins as someone who is not truly at home in the world he lives in, but strives to find purpose. Similar to Superman: The Movie, the inciting incident is also that of a loved one dying.

There are two instances where Superman: The Movie is referenced in my short film: at the beginning of the film, Ben #38 is watching the film on an iPad, and this is where we first hear the line from Pa Kent, ‘you are here for a reason’. Later on in the short, Ben #38 finds a Superman-themed backpack in the bedroom, which he picks up. At this moment, my own original score ceases for a moment and we hear the Superman theme softly on piano; and Pa Kent’s voiceover returns once more to tell Ben #38 that ‘[he is] here for a reason’. This gives him the strength he needs to search out his purpose in life.

I find intertextuality to be important because it gives a wider context for Ben #38’s feeling and emotions, and it reinforces his motivations by comparing them to something else that the audience can recognise.

Print Research

Link to: the Print Research.

Avoiding Copyright Infringement

Link to: the Avoidance of Copyright Infringement.

Original Soundtrack

Link to: the Original Soundtrack.

Lighting Tests

ESSENCE

Lighting Tests

Due to a lack of much technical equipment, I had to rely on natural light for much of the shoot. In the pre-title sequence, it was cloudy so the sun wasn’t out. This meant the lighting for this particular moment in the short film was very balanced, not over / under-exposed - just right; so relying on natural light for this scene was the right decision. I also relied on natural light in the second and final scenes. Again, it was quite a cloudy day for scene two so the lighting was suitable for the scene. Where using natural light did become a problem was in the final scene, where it was pitch-black night. I had to wait until it was this dark because there were certain images I wanted to capture that involved back-lighting a dark frame. However for the remainder of the scene, it left the frame’s visibility very low.

When I was using artificial light, I usually just had to rely on whatever light was already pre-installed in the room; like in the bedroom and in the kitchen where my only source of light was the main overhead electrical light. This often limited how I could alter the aesthetic of the frame in post-production, and I feel the light needed to be defused more to stop it looking so over-exposed. The only instance in the short film where I feel light was really used effectively was at the end of the second scene where I solely relied on the lava lamp for light - it created the mood and gave the colour I really wanted for the shot.

Equipment

ESSENCE

Equipment

The equipment I used for my short film was limited. On the technical side of things, I used an iPhone 5s for the high-quality camera, a tripod (with a phone attachment), and a flashlight in some instances to increase visibility at certain points.

In terms of props, I used a wide array of things like: a fold-out chair in the first scene, as well as headphones, and an iPad. In the third scene, the lava lamp plays a prominent role for the visuals, and in the fourth scene I use a mobile phone. Finally in the final scene, I use a knife with ultimately puts an end to the protagonist.

Locations

ESSENCE

Locations

In the pre-titles sequence, it was important to find an area that - through editing - could appear both utopian and dystopian, without actually altering it in-camera. So, I chose a small forested area, that by simply changing the contrast and saturation of the colours, appeared quite lush and full of life, and then the complete opposite of that. This area was a  simple pathway surrounded by grass and trees; the pathway connotes that in this world, people have somewhere to go - someone like our protagonist has a future ahead of him, even in dark times (the time of year, that being autumn, also helps illustrate this with the falling leaves and such); but as the setting becomes more and more dull and dystopian as expositional text appears on the screen, the audience is subtly told that in this world, that might not be the case.

For the second scene, a different, larger but similarly forested area was chosen. I wanted to shoot this scene outside in a pleasant environment to contrast it from the rest of the short film, which takes place entirely in the house. To maintain this feeling, I chose to present this scene in black and white so that the audience didn’t notice the time of year, as it was important to keep the tone of the scene light and summery. The time of day was important, too - the daylight helped capture the warmness of the environment and of the two friends. The area is surrounded by trees, to create an isolated feeling; but one that was opposite to the house. This is isolation by their own choice. It’s private and intimate - a place where they can be free.

The remaining scenes all take place in Original Ben’s house, to create that claustrophobic, trapped feeling. The sets within the house are small, which only accentuates this; and this is especially noticeable in the primary set in the house - the bedroom. It’s tight, which helps elevate the threat of Original Ben in the opening scene. Similarly, the kitchen was a versatile environment that allowed for different moods to be created just by the filter is shown through. When we eventually reach the garden, the use of natural light (or lack there of) allowed to capture certain visuals to again paint Original Ben as a viable threat to Ben #38. It also retained the through-line of isolation and entrapment with the bolted gate and fences all around.

Shooting Script

ESSENCE

Shooting Script

Pre-Titles (25/11/17)

Equipment:

• iPhone 5s.
• ‘Amazon Basics’ tripod (60 inches).
• Mobile phone attachment (for tripod).

Locations:

• Outdoors.

Scene One (22/12/17) [re-shoot]

Actors:

• Daniel Orton.

Equipment:

• iPhone 5s.
• ‘Amazon Basics’ tripod (60 inches).
• Mobile phone attachment (for tripod).

Locations:

• Bedroom.

Props:

• Bose wireless headphones.
• iPad.
• Desk chair.

Scene Two (5/11/17)

Actors:

• Daniel Orton.
• Daniel Martin.

Equipment:

• iPhone 5s.
• ‘Amazon Basics’ tripod (60 inches).
• Mobile phone attachment (for tripod).
• External microphone.

Locations:

• Outdoors.
• Bedroom.

Props:

• Lava lamp.

Scene Three (23/12/17) [re-shoot]

Actors:

• Daniel Orton.

Equipment:

• iPhone 5s.
• ‘Amazon Basics’ tripod (60 inches).
• Mobile phone attachment (for tripod).

Locations:

• Bedroom

Props:

• Lava lamp.

Scene Four (23/12/17) and (27/12/17) [re-shoots]

Actors:

• Daniel Orton
• Eloise Fradley

Equipment:

• iPhone 5s.
• ‘Amazon Basics’ tripod (60 inches).
• Mobile phone attachment (for tripod).

Locations:

• Bedroom.
• Kitchen.
• Dining Room.

Props:

• Superman-themed backpack.
• Mobile phone.
• Landline phone.

Scene Five (22/12/17) [re-shoot]

Actors:

• Daniel Orton

Equipment:

• iPhone 5s.
• ‘Amazon Basics’ tripod (60 inches).
• Mobile phone attachment (for tripod).
• Spotlight.

Locations:

• Outdoors.
• Kitchen.

Props:

• Knife.

Storyboards

Link to: the Storyboards.

Screenplay

ESSENCE

Screenplay by Daniel Orton

SCENE ONE

EXT. Outdoors (Daytime)

We slowly FADE from BLACK to reveal a cold autumn day. The leaves are blowing in the wind. After a few moments, sentences appear on the screen, one after another, informing the audience of the world.

‘Due to a recent scientific breakthrough, creating genetic copies of humans has become common practice. Clones are now on the verge of mass production. Bred to be more docile than a regular human, they are the perfect servants. Despite being biologically identical, clones share none of their original template’s memories or experiences.’

After all the text has FADED IN onto the screen, we hear a piercing gunshot. We then FADE to BLACK.

Credits begin to FADE IN and FADE OUT on the black screen.

CUT to:

INT. Bedroom (Daytime)

EXTREME CLOSE-UP on ‘Ben #38’, our hero. We see only his eyes, following something in front of him. We hear the DIEGETIC sound of what he is watching - it’s ‘Superman: The Movie’ on a tablet device. The character of Jonathan Kent is explaining to his son Clark that he believes he is ‘here for a reason’. After we hear this, we then hear the bedroom door open from across the room.

CUT to ‘Other Clone’ entering through the door. He says nothing to Ben #38 and continues to the other side of the room. He opens up the curtain, illuminating the dark room in the natural light. We then see him grab a chair stored in the corner of the room, unfold it, and place it down next to the bed where Ben #38 is sitting. In a LOW-ANGLED CLOSE-UP, he looks directly at Ben #38, whose eyes shift towards the Other Clone.

OTHER CLONE

Good luck.

He exits the room. At this point we hear ominous music begin to grow.

CUT to the door opening yet again. This time, ‘Original Ben’ enters, but we don’t see his face. He takes a seat at the chair that was laid out for him, his face still hidden.

CUT back to a CLOSE-UP of the door slowly closing.

When we finally see Original Ben, his face is half in light, half in shadow. This is a very LOW-ANGLED shot. Unlike his clones, Original Ben wears glasses.

ORIGINAL BEN

I just got off the phone with the E. C. E., and they told me that I didn’t have a good enough reason to decommission you… So I thought we could just have a nice, heartfelt chat about what happened yesterday, because--

CUT to an EXTREME CLOSE-UP of Ben #38, looking forlorn.

ORIGINAL BEN

(cont’d)

--you got a bit emotional, didn’t you?

BEN #38

I watched my best friend die…

As Ben #38 says this, we see a quick black and white flash of Ben #38, and his friend ‘Cam #42’ together.

ORIGINAL BEN

No, I’m gonna stop you right there. You don’t have friends! You’re not here to socialise, you’re here to work for me. That’s just how it is around here, you know that. Cameron just had to decommission your ‘friend’ because he wasn’t he performing as he should have been. You’re clones, you have a purpose to fulfill, and if you’re not fulfilling that purpose… then we don’t have any use for you.

CUT back to Ben #38; an EXTREME CLOSE-UP on his forearm. Written there is ‘BTXC-0038’ in black ink. We hear a voice-over echo over this.

CAM #42

(voice-over)

Is that your number?

CUT to:

SCENE TWO

EXT. Outdoors (Daytime)

MID-SHOT of Ben #38, rolling up his sleeve. It’s another cold autumn day, but where they looks peaceful, serene. ‘Three months ago’ appears on the screen.

BEN #38

Oh… yeah.

We get out first glimpse of Cam #42 now, with a CLOSE-UP.

CAM #42

Don’t you just have it tattooed on your back like the rest of us?

BEN #38

Well yeah, we all do, but…

CUT from a MID-SHOT to a CLOSE-UP of Ben #38.

BEN #38

(cont’d)

… he makes us write it on our arms, every morning.

When we CUT back to Cam #42, the camera is now HANDHELD to illustrate his outrage.

CAM #42

That’s messed up! They treat us like we’re nothing, like we’re animals… Y’know, I may be a clone of Cameron, but I’m not him!

CUT back to a MID-SHOT of Ben #38, who turns to face away from the camera.

CAM #42

(cont’d)

Something needs to change.

BEN #38

Careful, that kind of talk will get you killed.

Cam #42 also turns away from the camera to look into the distance with his friend.

CAM #42

It can’t be much worse than this.

In a WIDE-SHOT, we see both characters looking off into the distance. Ben #38 puts his hand on Cam #42’s shoulder reassuringly.

BEN #38

Well, if it comes to that…

CUT to:

INT. Bedroom (Evening)

CLOSE-UP of Ben #38 sitting next to a lava lamp, the only thing illuminating the room that is otherwise dark. The lamp is in the foreground, while Ben #38 is in the background. There is a DEPTH OF FIELD on the shot; Ben is blurred while the lamp is clear. ‘Today’ appears on the screen, before FADING OUT again. After a few moments, the frame becomes entirely blurred and we FADE to BLACK.

FADE from BLACK to:

SCENE THREE

INT. Bedroom (Daytime)

EXTREME CLOSE-UP on the lava lamp. There is more light in the room now. CUT to a WIDE-SHOT of Ben #38 sitting on the end of the bed. We see from the right of the frame that another clone, ‘Ben #5’ enters through the door. The shot is entirely blurred.

CUT to a CLOSE-UP of Ben #38. The blur is still present. We hear the echoing voice of Ben #5.

BEN #5

Thirty-eight.

The blur FADES AWAY before Ben #38 replies mockingly.

BEN #38

Number five.

BEN #5

You’re still here.

BEN #38

(flippantly)

Surprisingly!

BEN #5

And even after everything that’s happened, you still get the bedroom.

BEN #38

It is still my turn.

BEN #5

Well, our master must be in a generous mood.

BEN #38

(sarcastically)

I hope you’re not trying to suggest that our master isn’t generous all of the time.

We change to a CLOSE-UP of Ben #5, who looks serious.

BEN #5

A sense of humour is a dangerous thing to have around here… it’s like none of you pay attention to what goes on.

He makes his exit. CUT back to Ben #38; we ZOOM IN on his face slightly.

CUT to:

SCENE FOUR

INT. Bedroom (Daytime)

CLOSE-UP of a Superman-themed backpack. This is a P. O. V. shot from Ben #38’s perspective. He reaches down to pick up the bag.

CUT to a CLOSE-UP of Ben #38; he’s looking at it happily. We suddenly hear the words of ‘Pa Kent’ (from Superman: The Movie) echoing in Ben #38’s head. He is saying, ‘you are here for a reason’. This resonates with Ben #38.

CUT to CLOSE-UP of Ben #38 dropping the backpack; with a new determination, he strides towards the door. But he stops, and turns. He walks towards the wardrobe.

CUT to BLACK - we are inside the wardrobe; the door slides open and Ben #38 searches for some new clothes, before landing on an outfit he approves of. He smiles.

SCENE FIVE

EXT. Outside (Evening)

CUT to a P.O.V. shot from Ben #38. He is running, escaping. He reaches an old wooden gate with a simple lock. He unlocks the gate and it about to leave, before we hear Original Ben calling from behind.

ORIGINAL BEN

Thirty-eight! I am so… disappointed.

Ben #38 quickly spins on his heels, and we CUT to Original Ben in a LONG SHOT. He is a black silhouette, lit only from behind. The camera slowly SWEEPS low in front of him; he is imposing, a large threat. He begins walking to Ben #38.

ORIGINAL BEN

I thought we understood each other… I really did. I can’t believe you’d run from me. To betray me… well, I can’t think of anything worse. You and me - we’re the same.

We CUT back to Ben #38, who looks defiant now.

BEN #38

(angrily)

I’m nothing like you!

CUT now to a P.O.V., this time from Original Ben’s perspective. He draws a knife.

ORIGINAL BEN

Yeah… I suppose you’re right.

Ben #38 just hangs his head in defeat.

CUT to:

INT. Kitchen (Evening)

Original Ben enters; from his P.O.V., we see him slam the door, place down the bloody knife, and begin washing his hands at the sink.

In a MID-SHOT, he lifts his head to look out the window. After a few moments, a very faint, sinister smile emerges.

CUT to black.

THE END.