One shot

As the production was over a month ago now it's hard for me to trace back the emotions I was feeling at the time - it was an emotional rollercoaster. Just having submitted the film for the university, I haven't really had any time off at all. Or time to reflect.

My plan was to upload the film scrapbook here that I have kept as a physical copy with mood board cutouts - intricate analysis and thoughts on each scene. Bringing that on set everyday of course meant that I was gonna lose it. Fortunately it happened the last day on set, unfortunately - I can't show my thought progress through the past few months.

The main two inspirations that we kept on coming back to during the edit were Oslo, August 31 by Joachim Trier and Before Sunrise by Richard Linklater.

LMD09125 Advanced Documentary Practice

PLEASE FILL IN THIS FORM AFTER THE CRITIQUE Please upload the completed form onto your blog.

NAME: Elzbieta Vozbinaite

PROJECT: Surface

DATE OF CRITIQUE: 09/12/021

TUTOR(S): Sana Bilgrami

VERBATIM TRANSCRIPT OF FEEDBACK:There were technical issues, it was jarring and difficult to watch – Sana – that’s not me that’s the filmmakers.Film team talking.S: You know everything that you’re saying is so much more interesting than the film. I was wondering maybe at some point on day 2 you could have turned the camera on yourself? It takes experience and decision to make but you didn’t make it and that’s fine. But maybe in the future, when you’re in a similar situation. At the moment you have a slightly romanticised portrait of this man who goes to Bali, etc. It’s very disjointed. Why didn’t you film the dog? Is that you saying that you didn’t hae time to make the film?D: You’re standing there as if you made the worst film in the world. And that is not the case, you made a very different film. Your issue is that you’re not sure, of the film that you are now about to make. I think the edit is about unfinished. I remember saying to you, make sure that we feel like we’re in the water with him. One thing that is commendable about this is that it looks frightening and cold, and huge waves. Maybe youre not necessarily making a documentary about this man but about surfing in Scotland. But that needs more work. She didn’t like the harmonica. I’m maybe romanticising him a bit, but if you give me huge waves that’s all I need.I have worked with a character that I didn’t like and I think he was actually insane. But I decided to just not to go there. If you feel uncomfortable digging all that stuff up, don’t go there. If you don’t have release forms – don’t go there.S: When Charlie called this a Scottish fable – I can see it there. It is romanticised – you could do that. But still that film needs quite a bit of work as well as Demelza said. I really like all the sea footage despite the technical footage. It seems that you’re trying to construct a journey based on the campervan, but we see it, and then it’s gone. So either you construct it or you don’t. They are moments like that that are meaningless in the film.I think you can edit the V.O. and pull more out.With a bit more work particularly in the V.O. there are really great elements.I really liked that part “I was a surfer who taught for a living, I was never a teacher really”.You get a sense of the passion – and that’s what you need to focus on – the passion and then you have to work out how much of a character you create of him. And then you see the complete opposite.Maybe you have something of his interaction that humanises this character a bit more. Structurally I think it needs work. You need to create more sequences. And you’ve got good material. You just need to work on it.For me it seems more like a portrait of a person than a Scottish Surfing scene.D: No, I mean more about Scottish surfing. Cause you capture that element so well.S: Yeah, and I don’t think we need to hear about Bali.D: No, I do think we need to hear about Bali. Cause that connects him to this particular climate. And Bali is in particular interesting, because that’s what you associate it with.S: As a filmmaker you have to find your own ethical boundaries. Do you feel uncomfortable making this film at all? I guess when you’re working in a group you have to make an overall decision. It’s the bouncing act of working in the team.J: Who’s the director and who’s the cameraman? I see huge potential, I think you’re gonna be great filmmakers in the future in the film industry. These are beautiful shots – the composition, the lighting. Did you purposefully construct that scene with harmonica? You were forced to get that beautiful shot. Anyway, when you see it, you see that the style is very sophisticated, very conceptualised – mise-en-scene, everything. You did all the shooting after the tutorial?But today all we do is all we have today. I don’t recommend you come up with a story.At this moment it’s more poetic. Poetic documentary. When you have so much voice over, take voice over out and add more shots.S: Think about it as a poetic portrait.J: We just want to see the atmosphere. This is a working progress.

Giving technical advice.Laura: Apart from the moral debate, I think you have some really beautifully shots, especially the opening scene, also the shots in water. I think you did a good job at capturing the atmostphere and everything.Juno: Those shots were hauntingly beautiful to me, I just wanted to be there and the V.O. kept on throwing me out of that. I recommend thinking about this as if it were cinehaiku, I wanted to feel those feeling Sid describes – visually and sonically. But I think the cinematography is so good, I was getting the chills. I think you did well capuring the conditions you were in. You guys were there, so you understand what it felt like.

MAIN POINTS GLEANED FROM FEEDBACK:The narrative portrait documentary of Sid that we set out to do at the beginning didn’t work out. We should focus more on encapsulating the atmosphere, remove voice-over, and think about it more as a cinehaiku.

REFLECTION:As I said in the tutorial, this whole film was a massive journey for me as a director. I never claimed to be very into documentary filmmaking but through past few years I got more and more into it. Sid didn’t turn out to be who I expected him to be and we couldn’t follow the action plan we set up before going with him on a journey up north. We ended up following him more about that constructing some scenes – which didn’t quite work, but I couldn’t have told that back then because I’ve never had experience being in such improvised situation. We got back, we had limited time for the edit, and I was struggling to construct a narrative out of the material that we had. So I made a decision to feel The North through Sid. Have Sid as out guide into Surfing in this cold and windy land called Scotland. After the feedback we got on the crit, it only proved this point. And I’m gonna go into the edit suit with Beth now having a clear idea what I want to do and turn this into more poetic cinematic experience. We won’t try to get to know Sid or explain him, but we’ll try just to be there with him for those few minutes of the film and try to teleport the viewer together with us.A point I want to make, whatever experience we had during making this film, it’s irrelevant now as we set out to make a completely different film. However, I learned so much.Another thing, this film was being simultaneously edited with “The Toll” and I learned, that I’m never ever doing it again, as those are two completely different ideas and you can’t be working on two important projects as a creator at the same time because you get lost and burned out.

9/12/21 FCD Critical Reflection

Well this has been one hell of a semester… For this module, I was the director of The Toll, while simultaneously directing a very challenging documentary as well.

Ever since this year started, I think I stepped into it with the wrong foot, as I was still working on some film projects outside university and was trying to stretch myself between them. On top of that, I started questioning my work ethics as nothing I was doing seemed to be right. I tend to push myself really hard to achieve the best results I possibly can, but I don’t usually understand at that moment that other people might not be as passionate about the project as I am, and then there are fallouts. Especially in pre-production, I found it really hard to work with the cinematographer as we both have very strong opinions and I started losing sense of what I want to achieve or how to go on further when we disagree on the majority of things. Somehow we got to the shoot, which went fairly well. The editing went fairly smoothly as well, despite the fact we had to cut down half of the script (surprisingly Dan took it very well!), and then because of the time constraint - the sound edit was very rushed, however Tom did a great job with the creative sound design part and world building - however two things I'd like to revisit is colour grade and sound design. This project really made me dwell into my own work flow and reconsider things that are important to me and how and when to stand my ground as a director, and how to not go insane and keep my peace while working in a challenging environment. I understand I might be too demanding as well, and will try and work for on the middle ground for everyone in the future. Anyway, the whole team did a terrific job, despite the circumstances, and some people really surprised me in their dedication and willingness to collaborate!

I didn’t participate in any secondary roles unfortunately, however I worked closely with each department from script tweaks to scouting extras to editing etc. to deliver a coherent vision of the film in each of its elements.

Here is one of all the documents - a film book, I did first-thing going into the pre-production process:

*The actual PDF file with links can be found in this folder - https://drive.google.com/file/d/1xX8DqB-arrPM8AdTcjbu0KDp-MIVM-OC/view?usp=sharing

All the research and work done will be found in this folder:

I’m speechless, such a beautiful film! From the animation to the interviews to the colour grade — I was engaged with it 100% and I couldn’t look away. I honestly cannot think of any critiques because I thought it was so good -- well done to all of you and thank you for sharing your story and experience J :)

from Peter Fraser to Everyone:    2:21  PM

in terms of sheer craftsmanship utterly amazing, the animation has such a wonderful tactility and hostility which given the unnerving events its trying to capture makes sense.  the sound design at the start as well was so piercing and painful which so captured the same event.  The design work has a good consistency and feeling throughout.  there is a lot of really good stuff.  oi would echo what elze said about the interviews needing some inserts of visual variety during the interview part, as after a while they do go for a longer period.  but still the emotional heart of the film is wonderful and really well supported by the formal filmmaking practice you've carried out.  Im so excited to see the next drafts and changes you're planning!

from Mia Bloomfield to Everyone:    2:21  PM

What an amazing film! The light, colourful aesthetic you had taken to reflects J's outlook to it - how they are taking on a positive outlook, and deciding not to dwell on the past but instead focus on the future. I was surprised by the slow take you took to the interviews. I liked the pace of it, but I just knew that there were many more parts of it that you were planning on putting in. The music was excellent, and really helped set the tone. This film is a testament to how strong you are J, and speaks volume to you as a person. Well done, everyone! xx

from Maddy Reay to Everyone:    2:22  PM

this is an incredible film. the huge amount of work you've all put in is undeniable. I especially like the beginning before the big reveal. the score and animation really puts the audience on the edge of their seat, I got chills! I agree with Laurie that the collage effect would be great if you have time to get it

from Will Muir-kirk to Everyone:    2:22  PM

I thought the film had lots of interesting layers, the animation was really good and the soundtrack was good espescially the opening track.  Maddy was a really good adition to the film and helped flesh out the situation and its way of affecting the outside world better. Interested in seeing the final version!

from Will Muir-kirk to Everyone:    2:22  PM

really good

from Molly Mcvinnie to Everyone:    2:23  PM

this is so so good, I literally don’t have any critiques. It’s so lovely and the colours and animations and everything work very well. Very excited to see what you guys have in store for your next drafts guys! Thank you for sharing this with us :))

CRIT BY TUTORS:

“Who am i?” the sound level too low

Music to change more to positive in the interview

Longer film.

Who is telling the story? Who’s point of view?

MORE MEMORY JOURNAL!

Sense of confusion is missing.

Revisit the animation, 

Week 12 - Looking at America from outside

This week we have watched Andrea Arnold’s “American Honey” and read a profile of Lauren Berlant and her idea of 'cruel optimism'. 

The epicentre and main theme of the film is movement of the youth. Movement both on a physical level: transcending state borders, and on an emotional level: requiring a sway between desires and opportunities, self-knowledge, and the risk of losing individuality. These adolescents are encouraged to move not only by work or money, but also by hormones, ambition, distrust of those around them, and disgust at the place where they come from. Better for them anywhere, just not there. Impromptu dialogues, unprofessional young actors and landscapes give the film a sense of naturalness, reality, which reinforces the sense of documentary and prevents it from feeling still. Cinematographer Robbie Ryan, meanwhile, has the merit of using the usual 4 × 3 format (first attempt at “Fish tank”), which gives the shots the illusion of height, highlighting not only close-ups, but also panoramic images, giving a sense of depth and naturalness.

I have seen the film before this module, and I have absolutely loved it then. But after hearing Arin Keeble’s notes, discussing in the class with others and reading the text about cruel optimism, I picked up on so many more hidden ideas, metaphors and meanings in the film that I grew to love it even more. The cruel optimism idea was a new thing to me but it makes so much sense. I realised that I am a victim to it as well. I am trying to achieve big things in life by working all the time and striving for something that might never even come true, and by doing that, I forget to enjoy small, everyday moments in life. 

Week 11 - American Horror

This week we analysed the cinema of American Horror and watched a film “The Cabin in the Woods” directed by screenwriter and producer of the cult series "Lost" - Drew Goddard.

Ever since I remember getting more into the theoretical side of film, I had this question, does every horror film need to say something and can it say something important and send a meaningful message, when it’s core target is pure entertainment? I think it exacerbated even more when in my first year of university I decided to shoot a scene of horror genre for one of the exercises given by the lecturers. If I’m being honest, I still don’t have the answer to that. I guess, it doesn’t really. There are so many films without intellectual value to them. But if I was to direct something like horror, I’d try to achieve a commentary or something similar to what “The Cabin in the Woods” tried to do. 

Week 10 - Post 9/11 Cinema

This week we watched Kathryn Bigelow’s “Zero Dark Thirty” and analysed the Post 9/11 Cinema.

I was never really a fan of 9/11 cinema that tackled the themes of terrorism and the military forces of America as I have quite a strong opinion about how it may prompt even bigger violence on people, especially young age, that is watching them. The film had quite a lot of aggression as well, especially in the opening part of the film where one of the terrorists is being held as a hostage. Even one of the reading I read for this week, called that sequence something like the violence pornography. However, I did find myself invested in it but wouldn’t say I enjoyed it thoroughly.

The film may be good - well the production, the script are quite good, the actors are great, among which I would single out the talented and highly discussed Jessica Chastain, because of who I was most intrigued for this film. However, the sense of propaganda threw me off, because the American "peacekeepers" side was particularly exaggerated.

I’m already annoyed by movies that just “hit one gate” and try to make you hate the Middle East. Although it is mentioned that the script is real, many things in the film are silenced, and I did not like the torture that lasted at the beginning. The whole film was a plain, boring, twisted mosaic that should be fun for political scientists, people interested in wars and terrorism. Some of the torture scenes caught my attention, but the material itself, the structure  did not fascinate me completely, and at times, I even got nervous and wanted too fast forward the film, because it turned out to be too long as well.

Week 9 - Melodrama

This week we watched Barry Jenkins’ “Moonlight” and analysed the genre of melodrama.

I was surprised how much I didn’t know about the genre as from my pre-academic knowledge, I thought it was a genre with loads of crying and exaggerated emotions. And what I learned was that it is so different from what I have imagined. It is the films that are based on what the audience experiences and feels, what emotions it prompts rather than an intellectual film directed by for example Kubrick, or Spielberg. And what I realised is that melodrama is exactly the genre I love, I alway remember the films that make me feel something, and this is the sort of Cinema I want to make myself.

The task for us to do individually was to think about the film that made us cry, whether when we were little or even recently and what came first to my mind was Blue Valentine, Before Sunrise, Call Me by Your Name, Titanic: and surprise surprise, half of them are my favourite films, half are melodramas (although I’m still not quite sure what are the exact traits of the genre apart from the characterised plot that appeals to the heightened emotions of the audience).

An extremely poetic and emotionally influential film with a mood reminiscent of Brokeback Mountain. The tape is very timely, especially given the events of 2016, which were particularly intimidating for U.S. minorities: inhumane police treatment of African Americans and a homophobic attack at an Orlando gay club. But looking at recent years and the BLM struggles for black rights and the ongoing struggles for LGBTQ + rights, you realise that the film is as relative as ever now as well.

If to say something about “Moonlight”, the film carries a strong emotional charge, which makes it unquestionably the melodrama sub-genre representative, and it is this strength that has been appreciated by many viewers around the world. It’s not some kind of masterpiece that is desperately a must-see, but in 2016, in the context of “baked” films, it doesn’t really fade away.