Reading & Finishing the Book | Development

Throughout this whole process, we have all been writing different documents to go into the book we are producing for this unit. Nisserin has been doing the layout of the book as we went along, and myself and Laura were set to read through the book, to make sure it all makes sense and the spellings are correct, once it was done.
The reason why we decided to make a book is because we all liked the idea of having a keepsake from this project. We wanted something that we could keep and be proud of, other than the final video. We also thought it was a professional way to present our idea, and it would challenge us in terms of production and design, to work alongside our branding for the show.

We all decided, since I had finished my documents by this point, that I would read the book fully and change things when needed. And then the next day, which was the final day before we send the book off to be printed, Laura will go through the book and make sure everything sounds and looks good as well.
I read through everything completely, rather than skim reading, because I wanted to make sure everything sounded professional and everything made sense. I also wanted to make sure that there weren't any pronouns in any of the documents, other than the directors statement and the DOP statement. We all agreed, that by not using pronouns, it made the text sound more professional and it sounded a lot better.
When reading through the book I adjusted some of the sentence, words in terms of spelling, but other than that, it sounded really good. There were a few points that needed to be adjusted due to the development of the story, but it wasn't too difficult to do. I wrote down a few points that I thought needed to be adjusted, which I later told Nisserin in terms of layout and design and she corrected that once she had the book back.

Once I had thoroughly read through the book, which took me quite some time, we sat down and Nisserin added some missing documents that had to be put in. Nisserin also added the page numbers into the book, so our contents page could be completed. Myself and Laura then went through the book again, and we decided to make sure the contents page had the right headings and page numbers in it at the same time. After reading through a document, we wrote down the heading and the page number, and we did this throughout our reading.
Once the reading and spell checking was complete, we moved onto the contents page. Laura read out the headings and page number, whilst I typed them into the document. Then once that was complete and correct, Nisserin went through and made sure the layout of everything was correct, and the sizing was suitable for our printing of the book.

Once we were happy with everything, Nisserin exported the document into a PDF. We then looked through the PDF, to see if there were any mistakes we had missed, which of course there were. We then repeated the process, and when we were 100% happy with the final outcome we sent it off to be printed.
For the front and back cover of the book, Nisserin designed these two images:

We all loved this design as it wasn't too showy, meaning it still looked professional, whilst also clearly demonstrating our brand and tone of the idea. We are all very happy with our outcome, and cannot wait to see the final printed product. Printing is due to take a couple of weeks, so we are happy we managed to get this completed over 2 weeks before our deadline.

Script Draft #6 | Development

This is the sixth draft, and currently last draft of our screen before our deadline day, with all of the changes made.




Because our book needs to be finished very soon, due to the print date we have arranged with a book company, Simon gave us very brief feedback for the last draft.
He read through it, and said that he really liked the changes we had made. He especially liked the addition in Scene 3, where the couple has a break before coming up with the solution. We're gad he thought it worked well, and now, I think, the story is complete.

Script Changes #5 | Development

Myself and Laura sat down to make the changes together, as we found this worked a lot better the past few times we have done it, and also there weren't too many changes to make, so it wouldn't take too long to do.

We decided to kill two birds with one stone, by changing part of Marie's dialogue in Scene 1. When she mentioned Brian, we've changed it to her mentioning Jean Paul instead. This brings in the idea that Marie is married with kids early on in the episode, and it works a lot better than if Brian was mentioned.
In that same scene, we have changed it so Marie says "leave us alone" instead of "leave me and my family alone". As soon as we changed this, it made the scene flow better and it gave a better sense to the character being very down to the point.
Similarly, in scene 3, Marie has a lot of dialogue, so we've changed it and included the "ordinary doesn't cut it" line. Before Marie said "No, I've got celebrities coming in and I need to prepare. You have to go! I don't have room for ordinary anymore.", but we've changed it to something shorter, like "Look, ordinary just doesn't cut it anymore." We think this works a whole lot better, and it moves the scene along a lot faster. We also used this line as a segway to the space Simon wanted between them reading the newspaper and coming up with the solution. Straight after Dean picks up the newspaper and starts reading it, Annie starts to question Marie's ordinary comment. We've added a bit of comedy within this as well, through Annie mentioning page 3, and talking about killing off Dean. We really like this addition to the scene and we think it adds to the humour of the episode, which is really effective and entertaining for the audience. This break is long enough for them to think about the solution, but it's not too long that it make the script longer than it should be, which was my concern when Simon mentioned this.
We then moved onto including 'The Last Dish' somewhere else in the episode. We looked through the script and thought it would work really well in Scene 12, where they go back to Marie's house. Instead of Dean saying to Marie that he had bought some sweets for them to have, we have changed it so he says he'll be competing on 'The Last Dish'. Not only does this emphasise the show, it gives a clear indication that it's a show where you apply to be on it, clearing up the reason for Dean's determination.
We've also thought it would be a really good idea to have an advert for 'The Last Dish' to come onto the TV, so we've added this into the action just as Annie falls from her yoga pose. Along with this, we want the film crew to wear t-shirts that have 'The Last Dish' logos on them, to add to the details of the show and just to make the show a clear aspect of the episode.

I really like the changes we have made, and I think, apart from a few minor changes that can be made once we start script read throughs, the story is complete. From the first draft we made, this story has developed a lot, but it's developed in a really good and positive way. I'm excited to see what the cast and crew think of the script, and I'm looking forward to getting all the characters in together to read through the whole episode.

Script Draft Five ~ Feedback | Tutorial #7

We recently got more feedback from Simon about our fifth draft for the script.

One of the changes we really like, that Simon suggested was mentioning Jean Paul earlier on in the episode. We've already mentioned him in scene 11, but he thinks it will be funny to carry on Dean's slight obsession with him, so we need to mention him at some point in the trailer.
Within the trailer, there's a mention of Brian who is Annie & Dean's eldest son - Marie's brother - but upon Simon reading this he didn't understand who Brian is. We explained the situation, and he understood, but he didn't think there was any point in mentioning him in the pilot, since Marie is the main focus in the pilot.
Also in Scene 1, Marie says "leave me and my family alone" but to shorten this and make it less wordy it should just be "leave my family along". This brings it straight to the point and makes it sound a lot better and it flows better.
In scene 3, Marie has quite a lot of dialogue, and there's a particular part of dialogue that needs to be shortened to make it sound better. He suggested including a line that says something along the lines of "ordinary doesn't cut it" to make it straight to the point we are trying to make.
After Marie shuts them down in Scene 3, Simon think theres needs to be more time between Dean picking up the newspaper and them figuring out the solution to their problem. I have a slight concern with this due to page numbers. I don't want the teaser to be too long, but I also think this is a good element to have. Myself and Laura will have to sit down and see what we can add to give more time to that scene, but not make it too long.
Throughout the whole episode, we have this knowledge that Dean is receiving a letter, and at one point there's the mention of 'The Last Dish', but Simon thinks we should add the mention of this show somewhere else in the script, along with all the other mentions we have. This will make the audience understand more as to what it is and why Dean is always talking about it.
Along that topic, he thinks we should add little details of the show along the episode. For example; it might be a nice touch to see an advert for 'The Last Dish' on the TV during the living room scene, or a flyer lying around the house. That way the audience are aware of the character's obsession with the show. Also, maybe the film crew could wear t-shirts that have 'The Last Dish' logo on, to make it clear that they are part of that show, and to get straight to the point.

We are really happy with this feedback, and we feel as if our script will be mainly finished after these changes have been made, which is a really good feeling to have.
We showed Simon some other aspects of our project, like the test shoots, the title sequence so far, and the cast we have. He seems really happy with the development of everything, and we all think we will be done in time for the deadline, which is good.

Gavin & Stacey | Research

Another one of our TV inspirations is Gavin & Stacey, due to the comedy & filming styles being similar to ours.

'Gavin & Stacey' is a Sitcom that broadcast between the years of 2007 - 2010, on BBC One, but is now shown on BBC 3.

"Stacey is from Barry, near Cardiff, and Gavin is from Essex. But the difference in background and culture doesn't hinder their romance, which flourishes when they finally meet for the first time after hitting it off during numerous flirtatious work calls."

"Stacey's guardian-uncle, Bryn, has pledged to look out for his niece - when not obsessing over his faulty satellite navigation system - whilst Gavin is doted on by his sometimes emotionally volatile mother, Pam, who only want the best for her "little prince". 

"On the occasionally rocky route to Gavin and Stacey's wedding, the two very different sets of families and friends must learn to get along together. The couple's best friends, the forthright Nessa and best man Smithy, get along very well together too, but unfortunately only when they're drunk."

Filming Style
The TV series is shoot on with a single-camera set up, with no live audience to emphasise the comedy. Much like 'Motherland' or 'Outnumbered', this show is shot on location, but instead of being shot handheld like the others, this is shot statically, with smooth movements most likely on a dolly and tripod. This is very similar to how we want our film to be shot, and the tone it gives off is what we desire. It's not distracting and it doesn't portray chaos, like the other two shows. I really like this filming style as it looks smooth and it almost helps carry the story in a smooth manner. It's more relaxing for the audience to watch, and it just looks better.
At some parts in the show, it looks as if they are using more than one camera when filming one take of a scene. This is similar to what we are going to do, and from this I can see how effective it is when creating a smoother, relaxing shot.

Comedy
The comedy from this series is mainly centred around the characters and how they interact with one another. This is something we want to carry on throughout our series as we think it's relatable for real life, but also it's a great way to see all the character's different personalities coming together. The fact that all of the characters in this comedy are really close makes the show enjoyable and funny, and obviously we want to reciprocate this into our own series. We can do this through the characters personalties, the actions they do, and the way they talk to each other.

I think this is a good show to be influenced by for our project, as we all enjoy it, and it's a funny show to watch. It's enjoyable, funny and an easy watch, and this is something we really want our show to be perceived as.

Props, Costumes & Style | Development

As the director of this project, it is my job to decide what type of props we need for the shoot & what they look like, what costumes the characters will be wearing, and the style of the characters including hair and make-up. There full detail on the props, costume & style are in the pre-production book, but here are a few aspects of each subject that I desire for our project.

Props

Some of the most important props we need for our shoot are:

• Old Car - Green Nissan Micra

• To show the couple’s age and still quite old style, they need to have an old car with a unique colour. An old green Nissan Micra would be perfect for this, or any other coloured Nissan Micra. The reason for this particular car, is it’s known as an old car and it will show that Dean isn’t ready to give it up for a new modern one, much to Annie's protest.
• Old & Modern Frames & KnickKnacks
• To show the couples transition from old to new, they need to have a few old frames and a few modern frames. These will be throughout the house, mainly the hallway, and they’ll show pictures of the couple’s family and friends, etc. Along with old knickknacks that show their age and other generations.
• iPad
• Throughout the whole episode and the series, an iPad will be heavily used, to show Annie obsessing over it and starting to use social media. When getting an iPad, it has to have the ability to use Instagram, take pictures and it’s not too difficult to use for the actors.
• Robotic Cat

• Betty has a pet cat called Arnold, but this pet isn’t an actual animal, it is a robot. This robotic cat needs to have a clear resemblance of a cat, and it needs to move and make cat like sounds. It also needs to be quite creepy in its movement and appearance as this is a trait of Arnold that has been emphasised within the series.
• Betty Box
• Dean has a box dedicated to Betty’s presents that she always gives him. This can be a normal looking box, with a lid, but it should have the words “Betty’s Box” on it. This is to make clear that everything that is in the box has been a gift from Betty. This box will make an appearance is most episodes, especially the pilot. It needs to be an average size, and potentially filled with other presents, which will also need to be found. 
• Picnic Basket
• Annie is packing a picnic basket during one of the scenes, so a wicker picnic basket is needed. This preferably needs to be wicker to make clear that it’s a basket without much notice, but it also needs to be fairly big. This is to add to the humour of the scene, but also to show that the couple may go on quite a few large picnics with family or friends.

There are a lot more in the pre-production book, under the heading of 'Props'.

Costumes

Some of the most important costumes for the four main character's in the pilot are:

• Dean Davis
• His clothing choices are always quite traditional for a man of his age. He stays away from jeans and prefers to wear trousers, even in warm weather. He likes to look his age, and isn’t very interested in changing his appearance, even though his spouse is the opposite.
• One of Dean's outfits is...
• A block colour sweater vest with a plain shiny underneath.
• Grey colours trousers, with a dark belt.
• Brightly coloured socks.
• Annie Davis

• Her clothing choices have changed throughout time, but as of now, she tries to look youthful and younger than she actually is. This is due to the fact that she wants to her children to see her as cool and not embarrassing like they usually do. She always has to make sure she looks presentable and she strives to get compliments.
• One of Annie's outfits is...
• Long flowy dark top.
• Bright jeans.
• Long heeled boots.
• Bright patterned scarf.
• Betty-Jo King
• Her clothing choices are traditional old lady clothes but with a touch of bright colours and abstract patterns. She’s wears the same sort of outfit everyday, and she likes to look presentable and stylish for Dean.
• Betty's outfit consists of...
• A floral, coloured dress going down to the knees.
• A bring coloured knitted cardigan.
• Dark flat pumps.
• Pearl necklace & earrings.
• Glasses on string - this will be around the neck most of the time.
• Skin coloured tights.
• Marie Dubois

• Her clothing choices are really bold and fashionable. Being a fashion designer, she has to always look stylish, even in her loungewear. She always looks presentable, and wouldn’t be seen out of the house without mascara on and her favourite pair of heels.
• One of Annie's outfits is...
• Dark skinny jeans.
• White/plain t-shirt.
• Denim jacket.
• Chunky scarf/snood.
• Heeled boots.

The other outfits, and the extra's outfits are in the pre-production book, under the heading 'Costumes'.

Style

Here is a rough description on all of the four main character's styles:

• Dean Davis


• This character is pictured to have greying hair, to show his age. Ideally, the hair shouldn’t be long, and it could potentially look quite sparse and balding, or even thinning. Dean’s hair style will be carried on throughout the episode, with not much change being made to it. The appearance of Dean should portray that of a man in his 60s - wrinkles, ageing lines and potentially grey stubble. Dean’s main style is traditional, mature and he always likes to look his age.

• Annie Davis
• This character is pictured to have dyed blonde or brown hair - but blonde hair is preferred - to show her desire to stay youthful. The hair shouldn’t be too long, potentially in a bob or lob (long bob) cut. The appearance of Annie should portray that of a woman in her 60s -  wrinkles and ageing lines much like her husband. The character will be seen with natural make-up at the beginning, then as the teaser ends, she will be seen with more make-up on, to present our confidence developing. Annie’s style at the beginning of the show is quite reserved, traditional & mature. But as the story unfolds, her style is youthful to look modern and well put together.
• Betty-Jo King
• This character is pictured to have white or grey hair, to show her old age. The style of it needs to be quite short and curly, to sow her crazy and weird behaviour. The appearance of Betty should portray that of a woman in her 70s -  wrinkles and ageing lines, a little bit more than Dean & Annie. In terms of make-up she will be wearing quite a lot of make-up for an old lady - she likes to look good so she likes to spend some time on her appearance. Betty’s style is traditional for an old aged lady, but it’s also quirky and outgoing showing her crazy attitude.

• Marie Dubois
• This character is pictured to have either blonde or brown hair, maybe even ombre. Her hair always needs to be styled due to her occupation, and the desired look is a lob (long bob) or medium length hair, that is either curled or straightened in a neat, stylish way. The appearance of Marie should portray that of a woman in her 30s - always takes care of her skin and never misses a day when putting on moisturiser, so her face won’t have many wrinkles, only natural ageing lines. As she is always presentable, she will be wearing a full face of make-up but it will be natural with neutral colours. 

There are more details in the pre-production book, along with the extra character's style as well.

By making these decisions as director, I have set an image for each character and this helps everyone visualise what they should look like for the final outcome. Laura is set to source all of these and make it happen, under my supervision. I'm confident we can find all the props and costumes we need, and style the characters in the desired way.