what time is this seance

 ok so now we have to rush 

but its ok 

we were made for this 

lets do this 

We need to solidify a script by mid-week (hopefully Tuesday), so that we can start filming before spring break. Of course, I'm the only group member leaving (vacationing in the lovely city of Swampscott, Massachusetts, my goats fr), so we want to get the bigger sequences of the film done Thursday and Friday so that when I come back, we don't have to speedrun our final project. 

On Friday, we want to utilize the fact that it's a teacher planning day to film in my mom's classroom. No kids are present, so we have free reign to arrange (bar) the class however we want it. This is especially important because we have a couple of cool shots in mind where we need to block the actors in a specific way to create some cool witchlike symbolism. We want to have the popular girls show up in an arch around the main character (almost in a seance-like stance, but I won't foreshadow). It'd also be good for audio purposes, so we don't have the annoying chatter of kids constantly interrupting us during what is the only reason a class should be used for.

Also, in lieu of a lot of research (which will come later on) for this new style, just think of Mean Girls meeting Ever After High meeting Jennifers Body meeting Bottoms meeting...

Ok that's a lot sorry 

On Thursday, we'll probably do the seance. If you have anyone you want us to summon lmk now because I have to have a chat with the devil about it. This is the biggest scene in our film, and we need to properly plan it out this week to actually execute it. I'm excited to do it, but it needs to be done right. 

Ok 

big week ahead

earned not given

im so scared

im so tired

i will summon the devil for my film 

bye 

trust the process pls

 

We changed ideas

Ok, so like. 

Uhhh 

AHHHHHH

Ok so we went to panera (real layers(ppl who read my blog im trying it out) would know my love of panera) and we realized our story kind of, but also really, actually sucked. Like bad. Like not good. After we all got feedback from our group meetings, which kind of told us we were "trying too hard" and "sucked at film" and "were bad people" for ever thinking any of this (100% true, not lying), we kind of started to shift off the idea. We were thinking about what to do, and started to shift gears towards what was kind of a throwaway idea we had when we first started this project. 

                                    MEAN GIRLS BUT IT'S WITCHES AND META

We discussed a lot of plot details, and we still need to work out some stuff (including solidifying an ending), but here are the plot points we want to hit. 

Beginning:

• MC is introduced asa pure cutie girl type:

• She meets pa opular girl trio (a band of classic prissy hot pink popular girls)

• She takes one of their seats in class, and they sit around her

• They start talking to him in a fake kindness tone

• They invite her to one of their popular girl hangs (mean girls esque)

Middle:

• Hard cut to her outside the door of the hangout

• She talks to the camera while waiting in excitement, but gets cut off when the door opens

• Popular girl briefly questions whoshe'ss talking to, but MC waves it away quickly, but also notices a charm around her neck.ck

• The do classic girly stuff, MC notices the other 2 wearing the same charm

• Popular girls suggest doing a witchy spell casually,lly “it’ll be. It's” it's revealed that they are practicing witches, and have been doing magic for a while (they maintain their prior characterization though)

• They start the spell, MC notices her energy draining, and stops the spell

We honestly like this more, and we're having more fun with it, so let's continue to develop. 

SO 

ONCE AGAIN

BANG BANG FILM GANG

LET'S START AGAIN 

da group meeting ☝️

 We had a group meeting 

lettuce recap 

im so tired im sorry

Renn is doing a coming-of-age film about a girl overwhelmed by schoolwork, told kind of through the metaphor of plants. The protagonist has a bunch of plants, each one labeled with a name, each one a proxy for a different part of her character, explaining who she is without ever explaining who she is. Renn described one particular metaphor of the plant outgrowing the pot as the girl outgrows her friend group and the people around her. The plant, just like the girl, outgrows her environment and needs to find a new one to grow healthily in, but at the end of the day, it's still the same plant, and she's still the same person, just changed a bit. I actually love this so much it's annoying. We talked a bit about some cute mis-en-scene elements and how to properly decorate, but it seemed like he was doing pretty well with a neatly packed story.

Joaco's film is about a girl who's tired of the world she lives in and joins a satanist cult to spread satanism. Veeeeeryyyy stark contrast from Renn's. Some cool elements of the main character included her donning a Spanish hat. It's deeply absurdist, functioning as a metaphor for joining religion to find self-acceptance. Another cool element in the story is that the main character's sister was forced to go to a conversion camp as a kid. So yes, there's real weight underneath the Spanish hat and the satanism. He wants weird shots and drawings woven into the plot. This is either going to be insane or incredible or both. Probably both.

Robbie came in with a story about a guy who's spent his whole life trying to be as good at tennis as his dad, fails, ends up homeless, then hears that someone is out there impersonating him. So naturally, he has to go beat the impersonator at tennis. Very absurdist. He wants to do a SpongeBob-type vibe where the mouths move with no facial movements. I don't know how else to describe it. You kind of just have to trust the vision. I trust the vision. I trust Robbie. I love Robbie. 

this is freaky robbie help i'm scared

                                           

Samara is doing a documentary. It started with her watching the Super Bowl halftime show. Bad Bunny was listing all the American (country) flags, and it got stuck in her head. The show inspired her to make an episodic doc highlighting different aspects of Hispanic culture: food, sports, leisure, etc. She plans on interviewing older generations and younger ones, dancers, and building bridges between ages. Joaco suggested maybe doing two countries and juxtaposing them, which I think adds a real structural backbone. I threw in the idea of going more in-depth on a specific country per episode, rather than staying broad, and also how you can lead interviewees toward what you want them to say without them realizing it. I'm really excited for this, especially because it seems like almost everyone is doing a short film. 

Gaby is doing a music video. The artist actually went to Cypress and then moved to Nashville to pursue her dream of making pop indie music. Not sure why you moved to Nashville to make pop indie music, but that's not for me to discuss. Gaby was actually going to start filming today to take advantage of the sunset being at 6. She's filming on the beach to highlight the more sentimental aspects of the song. We tried to help her come up with ideas on how to portray the arist correctly because she does live like a 2 hour plane ride away, but she told us she's been in constant contact with her and has her stuff planned out. Go Gaby. 

Ryan closed it out with what sounds like a hilariously fun film. The film follows a custodian working late at night at school. He thinks no one's there and takes a bathroom break. Naturally, he forgets to put up the wet floor sign. He hears a loud crash and goes outside to find the limp body of a teacher lying there. The film follows him trying to hide the body, but the really interesting emotional twist is that he has a daughter at home depending on him. I really love this plot, and I actually sent him a short film I made a couple of years ago that I think may help him find a good balance with the slapstick comedy he's looking for

a lil bit of social media research

 1.  Logorama (2009) — Dir. H5

Media Text:

Logorama

Social Media Tool:

YouTube (H5 Official Channel) and Vimeo Staff Picks

Description of Types of Posts:

H5 posts the full film for free on YouTube, supplemented by making-of videos showing the animation process, director interview clips discussing copyright and consumer culture, and shareable highlight reels from the film. On Vimeo, the film is framed with full credits and festival laurels aimed at industry viewers.

Description of How Branding Is Developed:

Branding is intentionally minimal (black text on white), with the film's most iconic frame used as the channel banner. This minimalism creates contrast with the logo-saturated film itself, functioning as a statement: a movie that critiques logos refuses to brand itself with the same excess it mocks.

How I Will Use This to Develop My Own Social Media Presence:

I plan to release my film on YouTube after my festival run, just like H5. H5's making of content about the BTS of the production also inspires me to document my own filmmaking process, specifically the construction and breaking of the fourth wall, as standalone social content.

The dual-platform approach (accessible on YouTube, professional on Vimeo) is a practical framework I will adopt to reach both general audiences and festival programmers. Most importantly, H5's ironic branding reminds me that my social media aesthetic should comment on my film's ideas rather than simply promote them. Every design choice is an opportunity to extend the film's meaning.

2.  Validation (2007) — Dir. Kurt Kuenne  

Media Text:

Validation

Social Media Tool:

YouTube (Kurt Kuenne's personal channel)

Description of Types of Posts:

Kuenne posts the full film for free alongside viewer response videos, behind-the-scenes clips, and festival updates. He also resurfaces the film around culturally resonant moments (Valentine’s Day, mental health awareness days), keeping it in circulation long after its initial release. The comment section has become a community space, with thousands of personal messages that Kuenne actively engages with.

Description of How Branding Is Developed:

Branding is built entirely through warmth and consistency of tone rather than graphic design. The channel uses the film's golden color palette and a thumbnail of Thyne's character smiling directly at the camera, a gesture that mirrors the film's premise of making people feel truly seen. There is very few marketing language anywhere; every element of the page communicates the same emotional sincerity as the film.

How I Will Use This to Develop My Own Social Media Presence:

Validation teaches that emotional coherence across a social media presence is more powerful than a polished design. I want every post, caption, and comment reply to feel like it comes from the same creative and emotional place as my film. Kuenne's strategy of tying evergreen content to relevant cultural moments is also something I will replicate by identifying dates and events where my film's themes will resonate most.

Actively responding to viewers who connect with my film will build audience loyalty and generate organic conversation. If my film produces a real emotional response in viewers, I want my social media presence to honor that rather than redirecting it toward clicks and follows.

3.  Operator (2015) — Dir. Caroline Bartleet 

Media Text:

Operator

Social Media Tool:

Vimeo (Caroline Bartleet's director page) and Twitter/X, where both Bartleet and lead actor Mae Martin promoted the film

Description of Types of Posts:

On Vimeo, the film is presented professionally with credits, a director's statement, and festival laurels for an industry audience. On Twitter, both Bartleet and Mae Martin shared Q&A threads, discussions about dark comedy as a vehicle for mental health conversations, and genuine audience engagement. Martin's existing following significantly amplified the film's reach beyond the traditional short film circuit.

Description of How Branding Is Developed:

Branding operates on two levels. On Vimeo, the visual identity is stark and understated (muted grays with typography that signals the film's dry wit). On Twitter, the brand is built entirely through voice: both Bartleet and Martin tweet with the same sharp, self-deprecating humor as the film itself. The two platforms present different faces to different audiences, but both are authentic expressions of the same emotions.

How I Will Use This to Develop My Own Social Media Presence:

Operator's dual-platform strategy is the most directly applicable model for my project. I will use Vimeo to reach festival programmers and industry contacts, and Instagram or Twitter for more personal, conversational audience engagement. The idea of coordinating promotion with cast members is also something I hadn't considered. If my collaborators have existing audiences, working with them on social media could amplify my reach significantly, as it did for Operator through Mae Martin.

More broadly, Operator demonstrates that being honest about a film's difficult subject matter on social media, rather than softening it for marketing purposes, builds deeper audience trust. I want my social media presence to engage directly with what my film is doing and why, which will attract the right audience rather than simply the largest one. A smaller, genuinely invested audience is far more valuable for a short film than passive mass viewership.

ok last one

Okie last one I promise. Then we actually have to make decisions, and I have to stop reading about films and start making one.

Annie Hall (1977) —  Woody Allen

I DO NOT SUPPORT WOODY ALLEN I DO NOT SUPPORT WOODY ALLEN I DO NOT SUPPORT WOODY ALLEN!!!!!!

ok anyways 

Annie Hall is the gold standard. The film that basically said “what if we just didn’t have a fourth wall at all” and won four Oscars for it. The movie begins unconventionally, with Alvy breaking the fourth wall as he speaks directly to the audience about his childhood and adolescence, mixing jokes with bittersweet observations about life.  From the very first frame, Allen establishes that there are no rules.

What’s brilliant is what the fourth wall break actually does structurally. The film’s strengths lie in its postmodern techniques, like the fourth wall breaks and fantasy inserts, which add layers without overwhelming the core romance.  Allen uses the breaks not to be clever but to be honest.  Alvy talks to us because he literally cannot stop processing his relationship out loud. The camera is his therapist.

It’s super important that if you’re going to break reality like this, you do so right away, so that the audience is prepared to suspend their disbelief. Annie Hall does that in its first scene as Woody Allen talks directly to the camera, telling jokes. This lets us know right away that this movie will get as meta as it wants.  That’s the lesson for us. Establish the grammar of your world early. Once you’ve set the rules, you can break them as much as you want.

American Psycho (2000) — Mary Harron

did u know im utterly insane

Okay. Different kind of dark comedy. Much darker. Significantly more axe murders.

American Psycho is a 2000 American psychological black comedy film co-written and directed by Mary Harron, based on Bret Easton Ellis’s novel of the same name.  It follows Patrick Bateman, a wealthy Wall Street investment banker who is also a serial killer, or possibly isn’t, and the film is genuinely committed to never fully answering that question. The film cleverly uses music as a narrative device, with Bateman often discussing his favorite albums in detail before committing acts of violence. This juxtaposition of pop culture and brutality serves as a critique of the era’s hedonistic lifestyle and reflects Bateman’s fractured psyche. 

The fourth wall here isn’t a camera glance or a direct address, but rather an internal monologue that we’re constantly pulled inside. The thing that makes American Psycho so original is the amusing voiceover monologues of Christian Bale, which are, in fact, a reflection of his inner demons.  We’re not watching Patrick Bateman from the outside. We’re trapped inside his head with him.

The entire society that surrounds him is as self-centered and vain as he is, and equally addicted to greed. That’s the real horror of this film,  and a lot of the comedy derives from watching the excess.  The business card scene (where grown men in expensive suits have what can only be described as a breakdown over whose card has the better font) is one of the funniest scenes in my personal cinema history and also a genuine horror movie scene.

bloggin on da bus

 Back at it. Two more texts. Fully locked. Let's go. 

I also on da bus to STN YAYYYY

Crazy Ex-Girlfriend (2015-2019) — Created by Rachel Bloom and Aline Brosh McKenna

Okay, so bear with me on this one because Crazy Ex-Girlfriend is technically a musical romantic comedy, but it does something so specific with fourth wall awareness that I had to include it. Also, another rec from Quinn, so give it up, ladies and gents, for his taste in media. 

Crazy Ex-Girlfriend is an American romantic musical comedy-drama that premiered in 2015 and ran for four seasons. Created, written, and directed by Rachel Bloom and Aline Brosh McKenna, the show follows Rebecca Bunch, a lawyer who moves from New York City to West Covina, California, to pursue her ex-boyfriend from high school summer camp. That sentence alone should tell you what kind of show this is.

Where Fleabag breaks the fourth wall through direct camera address, Crazy Ex-Girlfriend does something different and arguably weirder. It breaks the fourth wall through the songs themselves. Rebecca's songs present moments of true spontaneous self-expression, but in these meta-moments, isn't the spontaneity highly constructed? Rebecca has to break into song to express herself; she cannot integrate self-expression into her everyday life. The songs are her fourth wall. When she can't say something true out loud, she sings it directly to us, in a production number that the other characters can't hear or see. It's the same mechanism as Fleabag looking at the camera, just with choreography.

The show has a long history of breaking the fourth wall and then having characters insert a ridiculous in-universe explanation for their odd word choices. The show is constantly aware of itself, constantly commenting on its own genre. In the finale, when Paula confronts Rebecca about her habit of spacing out, Rebecca says, "When I stare off into space, I'm imagining myself in a musical number. That's how I sometimes see big moments in my life, as musical numbers. And because I do that, so does the show." The character acknowledges that the show exists because she imagines it. That's as meta as it gets.

The series is a comedy at its core. But the levity comes through even in serious moments, including Rebecca's suicide attempt, because the show never loses its comedic footing even when it's dealing with genuinely heavy material. That balance, comedy as the container for darkness, not the escape from it, is exactly what we're going for.

Parasite (2019) — Directed by Bong Joon-ho

 Parasite is a South Korean dark comedy thriller about a poor family, the Kims, who systematically infiltrate the household of a wealthy family by getting themselves hired as unrelated domestic staff. For a film that ultimately delivers such an outraged, sorrowful, and incisive message about class inequity, Parasite begins with surprising levity, with a twist on a classic heist. 

The film's tone shifts wildly throughout, from focusing on the relatively comedic hijinks of the ambitious Kim family in the first half to the tense, unsettling introduction of a character who lives beneath the wealthy Park family's ornate mansion, ushering in the darker tone of the film's second half. 

Much of Parasite's appeal is that Bong's humor keeps the class allegory from ever feeling self-important. He's making you laugh at the con, at the Parks' obliviousness, at the absurdity of class performance, and then the film reminds you what's actually at stake for everyone involved. Although the exposition and rising action are driven by dark humor, more sinister, threatening elements of horror and mystery dominate the film's second half. From celebratory to morbid, elated to appalling, the film's sudden shifts in tone effectively capture and hold the audience's attention by establishing a menacing mood.

The most defining trademark of Bong's films is their sudden tone shifts between drama, darkness, and black or slapstick humor. Bong himself claimed: "I'm never really conscious of the tone shifts or the comedy that I apply, I never think 'oh, the tone shifts at this point or it's funny at this point.'"  

For our film, dark comedy isn't about making dark things funny. It's about using humor to get the audience somewhere they wouldn't go otherwise. And then pulling the rug. Parasite does this better than almost anything ever made. We should be so lucky.

Works Cited

Bloom, Rachel, and Aline Brosh McKenna, creators. Crazy Ex-Girlfriend. The CW, 2015–2019.

Bong, Joon-ho, director. Parasite. Neon, 2019.

Framke, Caroline. "Crazy Ex-Girlfriend's Brilliant Use of the Musical Form." Vox, 22 Feb. 2017, www.vox.com/culture/2017/2/22/14691900/crazy-ex-girlfriend-musical-fourth-wall.

Lim, Dennis. "Parasite: Notes from the Underground." The Criterion Collection, 24 Nov. 2020, www.criterion.com/current/posts/7158-parasite-notes-from-the-underground.

Lee, Taila. "Bong Joon-ho Exposes Harsh Realities Through Humor and Horror in 'Parasite.'" The Paw Print, 14 Apr. 2020, woodsidepawprint.com/lifestyle/2020/04/14/bong-joon-ho-exposes-harsh-realities-through-humor-and-horror-in-parasite.

McDaniels, Emily. "Parasite: Genre Hybridity and Class Consciousness." University of Wisconsin-Whitewater, Fall 2023, www.uww.edu/documents/colleges/cls/Departments/Film%20Studies/RF%202024%20McDaniels.pdf.

i could've made ferris bueller, john hughes could not write this blog

 when u lowkey just research da films

ok i guess i do research 

Let's talk about the two texts that basically created the blueprint for what we're trying to do. 

Fleabag (2016-2019) — Phoebe Waller-Bridge

wow shes even looking into the camera here wowwww

Phoebe Waller-Bridge's Fleabag is still considered by many to be one of the best comedy shows of all time. There are many reasons why the series is so genius. But the factor that allows Fleabag to rise above all other comedy series is the titular character's frequent breaking of the fourth wall. 

 Fleabag is very aware of the audience watching, and she almost continuously breaks that fourth wall, looking into the camera and making eye contact, pulling weird faces only for the viewer to see, and talking directly to the viewer, which allows her to "confess" her very personal thoughts only to them. Not only does this lead to the development of a very intimate and personal relationship with the audience, but it also shows an awareness of the audience or, to go even further, a preference for the audience. Fleabag consciously decides to share her raw internal monologues and her sarcastic commentary with us, instead of with the other characters.

But there's more to it than just looking at the camera: it is precisely during these seemingly intimate and revelatory fourth wall breaks that Fleabag is at her most performative. She's not just confiding in us, she's performing for us. The camera is both her most honest relationship and another way to run from herself. 

Ferris Bueller's Day Off (1986) — Directed by John Hughes

Stop aura farming, Ferris. We see you

An American classic. A teenager fakes being sick, skips school, takes a Ferrari through Chicago, and spends the entire movie talking directly at you about it. The film stars Matthew Broderick as the slick-talking Ferris, a charismatic high school slacker who lives in Chicago and skips school with his best friend Cameron and his girlfriend Sloane for a day, regularly breaking the fourth wall to explain his techniques and inner thoughts. 

What's brilliant about Ferris is what the fourth wall break is actually for. The majority of Ferris's monologues are about his tormented best friend Cameron, and they supply insights into Cameron's character that we wouldn't be able to get otherwise. Ferris is essentially our guide into someone else's story. Ferris is honest with the audience. When he speaks to us, he speaks the truth. The same can't be said for the other characters in the movie. Ferris may lie, cheat, and steal his way through his day off, but he always seems to keep it real with us. How thoughtful awwwww. 

Through his direct addresses, Ferris is portrayed as a self-aware character, always one step ahead of the adults trying to catch him. This storytelling device simultaneously amplifies the humor and deepens our understanding of Ferris as a character.  The audience becomes his accomplice, and we are in on every joke. 

Both texts show that a fourth wall break is only as good as the reason behind it. Fleabag uses it to survive grief. Ferris uses it to make us accomplices in joy. Either way, the camera look has to actually mean something. That's what we're after.

Works cited

Bramesco, Charles. "How Fleabag's Fourth Wall Breaks Became the Show's Emotional Core." The Guardian, 18 June 2019, www.theguardian.com/tv-and-radio/2019/jun/18/fleabag-fourth-wall-phoebe-waller-bridge.

Hughes, John, director. Ferris Bueller's Day Off. Paramount Pictures, 1986.

Petski, Denise. "Why Ferris Bueller's Fourth Wall Breaks Work So Well." ScreenRant, 12 Mar. 2021, screenrant.com/ferris-bueller-fourth-wall-breaks-analysis.

Waller-Bridge, Phoebe, creator. Fleabag. Two Brothers Pictures, 2016–2019.

bang bang film gang lets get started

4 seniors who are existentially questioning their existence make a film. Oh well. 

So we're making a dark comedy that breaks the fourth wall.

I think of dark comedy as a genre that lives in this little pocket where nothing is okay, and everything is hilarious because of it. 

The defining characteristics of a dark comedy include: a look at taboo subject matter, humor derived from pain or discomfort, and characters who are aware, on some level, that they're trapped.

That last one matters a lot to us because breaking the fourth wall means the character knows they're trapped. In a movie. Which they can never escape. Which is bleak, honestly. Interesting...

Fourth-wall breaks specifically work because they shatter the parasocial contract between the character and the viewer. The character isn't supposed to know you exist. When they do, suddenly the audience's expectations are shattered. The audience becomes an active participant in the film they're watching. 

As for dark comedy as a genre, the defining move is using humor not to escape darkness, but rather to walk directly into it. Taika Waititi, a director who has mastered the approach, has described his style as writing "really uncomfortable moments of drama that make you so uncomfortable you want to laugh", specifically distinguishing this from comedy writing, which he says he's not attracted to at all. Put simply, the best dark comedies aren't written by people trying to be funny. They're written by people trying to be honest with the audience and themselves.

One of my favorite films is Jojo Rabbit, directed by Taika Waititi.

It somehow manages to balance the incredible despair of the Holocaust with a funny coming-of-age story

of a kid finding who he wants to be in the world. 

 

Waititi himself said it best when defending the genre: "The world needs ridiculous films, because the world is ridiculous." Thanks for da insight, Mr. Waititti. Actually, wait, I take that back, I did not like Thor. Do better, Mr. Waititti

The combo of dark comedy + fourth wall breaks is particularly interesting for us in the best way. You're laughing, and then you feel bad for laughing, and then the character looks at you like they know you feel bad, and then you're in an existential spiral at 2 PM on a Tuesday. Banger scenario, I might add. 

This research will genuinely help us understand WHY the genre works, not just what it looks like. We will also try to make the 4th wall-breaking feel intentional and not just gimmicky. The character's awareness of their situation is the darkness, and it's wholly enveloping. 

More research coming up

I have STN this week

I am exhausted

yet

WE MOVEEEEE

Works Cited

Brew, Simon. "Jojo Rabbit: Taika Waititi interview." Den of Geek, 18 Oct. 2019, www.denofgeek.com/movies/jojo-rabbit-taika-waititi-interview.

Plunkett, Suzanne. "What Is the Fourth Wall, and Why Do Characters Break It?" MasterClass, 7 June 2021, www.masterclass.com/articles/fourth-wall-explained.

when u just up scheduling #yup #film

 There is an ancient Chinese proverb that says, "Zach London must go on a whatsapp call at 5:42 PM on a Friday to make a schedule for his project." And whoever said that is stupid, because Zach London went on call at 6:42 PM. Do better, China.

me n gang on da call

 

We decided on a strategy for the schedule, splitting up the workload into 2's. 2 weeks Pre-Production, 2 weeks production, 2 weeks post-production. No one's ever thought of this before. We want to have a good idea of what we're doing before we all leave for STN, so we can hit the metaphorical ground running once we get back. We want to start filming by the second week of March, which will also free up Spring Break for us to do any filming we would need during the week. By the end of March, we should be fully editing the film, finishing it up by the first week of April. 

You can now bet on whether we finish this project on time on Kalshi, Polymarket, Hard Rock Bet, or wherever you dabble in a little degeneracy! I'd take the under; we seem to be pretty locked. 

da official schedule

Week 1 - 2/17-2/21

    - Decide Project Type

    - General Planning and Scheduling

    - Brainstorming Story

Week 2 - 2/22-2/28

    - Case studies

    - Genre Research

    - Develop key plot details

Week 3 - 3/1-3/7

    - Half of week consumed by STN

    - Pin down plot points

    - Begin scripting when we return (3/4)

    - Decide on brand identity for social

Week 4 - 3/8-3/14

    - Finalize Script

    - Plan shooting locations

    - Shot list

    - Plan shooting times

    - Create social media posts

Week 5 - 3/15-3/21

    - Begin shooting

    - Start title graphics

    - Begin posting on social media

Week 6 - 3/22-3/27

    - Wrap shooting

    - Sort footage

    - Postcard Design

 Week 7 - 3/29-4/4

    - Finalize edit

    - Announce distribution plan on social media

Week 8 - 4/5-4/10

    - Write critical reflection

something something start of a new beginning

 IT MAY NOT MEAN NOTHING TO YALLLL

BUT UNDERSTAND NOTHING WAS DONE FOR MEEEE

ok i make a film

We're starting our portfolio project for A-level, and our doc group is running it back. Expect the lock in of a lifetime at Panera again. Unsurprisingly, the team decided on the short film option for the project. I'm actually very excited about the prospects of this film. As Seniors in our second semester, we're kind of already on our way out, with this project serving as our last hoorah. I want to put everything I have in this film, and, hopefully, the effort shows. 

Sorry to get a bit serious, ya boy has to get a grade.

We threw some ideas around about what we want the film to be about. We went through vampires, high school drama, and love stories. Really, the whole 9 yards. But we decided to maybe perhaps kind of sort of do a more meta film. Quinn's dying love for the show "Fleabag" may influence this film more than I'd expect, and now I have to watch the show. 

Wait shes British like you Cambridge

We're nowhere close to settling on an idea, and because we all leave for the Student Television Network

 Convention in a week, we probably won't be until after. But, enough of this scheduling talk, let's leave that for the next post. 

How it feels to make art with your 

friends AGAIN