FICTIONAL ADAPTATION: SONNET RESEARCH

Origins of the Sonnet
Looking online I found that the sonnet was written back in 1932 by American Poet, Mary Elizabeth Frye, she wrote it for her young house guest, who was a German Jewish Woman called Margaret Schwarzkopf.  The young woman was really worried because her Mother was very ill but she was unable to go and look after her Mother due to the events which were taking place, later to be known as the Holocaust. Her Mother past away alone and Margaret turned to Mary for comfort, what upset Margaret most is that she was never able to stand at her Mother's Grave. This is what inspired the opening line and inspired Mary to write the poem.

So the reason the poem was written was to comfort her friend and to open her mind and show that death isn't something to be upset about and that when they die, they become one with the world and they're always watching over us and they're all around us.

Source of information

Readings of the Sonnet
After speaking to an Air Cadet, Paige Hudson, she told me that the sonnet is often read out on Remembrance Days each year. It's also one of the most read poems at funerals and days of remembrance as it brings comfort and ease to people who have lost someone and reminds us that they're always watching over us and they're always with us. One of the most well known readings was from 1995 when a soldier's Father read the poem on BBC Radio in remembrance of his son. The Father had found the poem in an envelope which was addressed "To all my loved ones" in his son's personal possessions.

From this, I think I've been taking this sonnet far too seriously and reading into it too seriously. I've been trying to write a story around the sonnet and literally make the lines of the sonnet into the script but I think after reading the meaning behind this sonnet and what it's been used for, I'm starting to see this as more of a blue print for the story. I agree with what Mike said now, that I need to really think about visuals but I think I can adapt this now so that we get this story of a wondering spirit but we focus on her moving on and showing that.

FICTIONAL ADAPTATION: PROPOSAL FEEDBACK

I received my feedback from my proposal from Mike in a one-to-one session.

Mike explained that he found my proposal very broad and that there was a lot of 'maybe' or 'possibly' and I didn't have a solid idea for this adaptation. He explained that I clearly haven't researched into the meaning of the adaptation and the history behind it. He also explained that I haven't thought enough about the visuals I could get out of the sonnet. Mike explained that if I want to show that this girl hasn't died, maybe showing a graveyard isn't the best idea because a graveyard symbolises death. Which isn't what I want to do within this adaptation.

Mike suggested that to get a real idea and inspiration for the adaptation by researching into the author and the origins of the sonnet as well. Mike did say it was originally written for the authors friend who and lost someone. As well, he recommended that I research into when the sonnet is often read and what events it is often used at.

I also want to research into other adaptations it's been made using this sonnet so that I can see what has already been done and try and come up with something more original.

FICTIONAL ADAPTATION: STORYBOARDS AND IDEA DEVELOPMENT

My idea currently stands that a 20 year old girl has died and she is still wondering around, watching over her family and friends. By the end of the film we find out that she is okay that she's past on and that she's okay with her death. The idea is to adapt the lines from the sonnet into scenes or shots which can symbolise what they say and adapt the entire sonnet from there.
Thinking about what the sonnet is about I see it as talking about someone who has past on and they've become one with the world.

Although I haven't gotten a script written up yet, I have begun drawing up storyboards. Starting with the beginning, I want to introduce the characters and tell the audience the basics of the story:
- A girl has died
- The family is mourning
- The girl's spirit is still following

Below is the storyboard I've drawn up for the opening scene:

I thought to have the scene in 3 shots with a cut away. A jig down to a mid shot, a mid track to the left and a wide shot with a cut away of the grave. What I want most out of this experemental film is to see if I can show the character Stacey as a ghost/spirit, without any of the cheesy "walking through walls" or having her say or comment on the fact she is. As well I wanted to use some different camera techniques which I haven't used yet such as the the jig.

I currently plan on having 5 locations:
- Graveyard
- House
- Garden
- Street
- Bedroom

Within all of these, the majority of the story will take place in the bedroom and graveyard. I want to use the lines of the sonnet and literally turn them into visuals. One of my ideas is to have the ex-boyfriend sitting in the garden at night, around where they would sit and missing her. As Stacey watches him, he looks to the lights around the garden and smiles, thinking to himself that she is still with him and looks to the sky and knows she's looking down at him. This is how I feel I could achieve adapting the line "I am the soft starshine at night".

These are some of my ideas so far, I also think I'm going to cut the line "I am the diamond glints on snow" as I can't see how I can visualise that in this adaptation since I don't have this set at winter time and I feel it isn't needed for my adaptation.

FICTIONAL ADAPTATION: ADAPTATION PROPOSAL

Sonnet Adaptation Proposal

When writing up my proposal, I still didn't have a completely clear idea. But I did know that the story I wanted to tell was about a young girl who and died but isn't upset by it. She's embraced it and has become one with the world. Although, my issues here are that I don't have a full story yet. Or even a script. So, this was a very broad proposal but I am hoping the feedback from Mike can help me shape the story and finalise my idea. 

I knew the look I was going for and the colours as well as I wrote up in the Visual Statement. I found that a sort of cold and greyish coloured look would be a good experiment, almost going for the Tim Burton style of having dark and scary to contrast with the happy and nice story.  I feel this would work really well and I'd like to experiment with this. This is also why I added in my mood board. I've already got 1 actor and location finished but I think I need Mike's feedback first to finalise my idea and really got a structure and story out of this.  

FICTIONAL ADAPTATION: EXPEREMENTAL FILM

When choosing the style of 'Fear' I wanted to use the techniques we had learned in the camera workshop. I wanted to use the techniques to show fear rather than create it. So rather than creating tension and putting the audience on edge, I wanted to have the footage match with the fear of the character. So, if the character is calm and no action is occurring, the footage is either steady with locked off tripod or on a jib/steadicam set up. If it was needed for a fight/action scene I'd go with handheld, shoulder mount of action cam for the footage. Although, this is a very basic and classic rule for filming and camera techniques. I've never really tried it myself and I wanted to see if this works.

I also wanted to try very close up and awkward framing on the characters to create a sense of unease and make it uncomfortable to watch. Finally, I wanted to try and test the effect where you move the camera in but zoom out to give the effect of the world changing around and a sort of 'awakening' sense given by it. Below is my experemental film:

I feel this film worked. I used it as more of a test for certain camera techniques and it let me test my skills of using less dialogue and more visuals. Low lighting with my choice of camera is a serious issue (Canon 60D was the camera) and this would be the same with the DSLR's at University due to their sensor size. I didn't like the close ups I used in the end because they didn't work with the footage. It's all been moving in some way throughout the film and then suddenly it's locked off and just doesn't look right. The zoom track shot sort of worked but I think I need a lot of work on this. 

Overall I think it's a success on what I set out for it to be and it's allowing me to start thinking what sort of shots I would now need to mix in with a mood. Something which I'll need to do for my adaptation. 

FICTIONAL ADAPTATION: CAMERA TECHNIQUES & PRACTICE TASK

We started this workshop with Mike walking us through different camera techniques. After watching through different videos to show us the different equipment you can use such as a Shoulder Mount, Steadicam, Jig, Crane, Track and Slider. We were given the diagram below which showed us the simple and basic camera movements:

We were told that the movement listed as "Roll" is actually a Dutch Angle, this was actually the only one I hadn't heard off, however I could see this being very effective in music videos with a performance from the band, giving a different view and with a steadicam attached moving in and out I feel this would be really effective.

After doing this, we were sent into groups and given all the different camera equipment that we have available at University. I teamed up with Jemma and we went and used the Jib first. We found this was very time consuming and took a long time to set. However, this is worth it with the effect it can give and the shots we can get from it. We found it's really good for shots of actors walking away and gives a good effect. As well, I thought this would be ideal for establishing shots as well for my adaptation for outside shots. We were told we were just experimenting with the equipment today. We moved over and starting using the Panasonic cameras as hand held and then over to the track to get a final shot. I tried to put together a walking sequence just to show the different techniques we have as options and also to see what would and wouldn't work. Below is the edit I put together:

After doing this, Mike gave us the task of creating a 2-3 minute sequence following one of the following themes:

1. Fear

2. Hope

3. Despair

4. Joy

I've always loved writing horror scripts and love the idea of creating a short sequence based on fear. I like the idea of having shaky footage mixed in with fast cuts and changes to give this idea of fear and horror. I've decided to try and do it on this but more than likely I'll go with only a few different techniques rather than all of them. I'm think of using:

- Steadicam

- Tripod (pans and tilts)

- Shoulder rig

I also want to try and make this without any dialogue, as to increase the fear side with sound effects and audio. 

FICTIONAL ADAPTATION: CHOSEN SONNET

When looking through the Sonnets, I found a lot of them slightly confusing and didn't understand many of them. However, the second sonnet, by Mary Elizabeth Frye, stood out and interested me. The sonnet is:

"Do not stand at my grave and weep: I am not there; I do not sleep.

I am a thousand winds that blow,

I am the diamond glints on snow,

I am the sun on ripened grain,

I am the gentle autumn rain.

When you awaken in the morning’s hush I am the swift uplifting rush

Of quiet birds in circling flight.

I am the soft starshine at night.

Do not stand at my grave and cry:

I am not there; I did not die."

FICTIONAL ADAPTATION: INTRODUCTION

Out of 2 units we get to choose which we follow through with. Professional Practice, which is where we either find our own work placement or take on a commission from a company, or Fictional Adaptation which is where we choose one of ten sonnets and we adapt that into a short film between 5-6 minutes long.
I chose to go with Fictional Adaptation. My reason for this is because I currently want to go into the camera department and down the rout of a Cinematographer, I found that some of the Professional Practice option that were given forward didn't give me as much creativity. However, Fictional Adaptation allows me to experiment with camera techniques and really test and develop my skills. This would also benefit my show reel better I feel.

Our lecturer Mike Rymer is taking this unit. We've been given the Sonnets and now need to read through them and decide which we want to adapt. All of which we have clearance to use and adapt.