MEDIA TYPE       

I will write and direct a short film representing the importance of family and determination, this is the film's central theme. It will be 10-15 minutes in length, with roughly a page count of 15. I want to follow traditional drama genre conventions whilst exploring the effects of narrative pacing, speeding up and slowing down the tension in a film to build emotion. The film is specifically a coming-of-age, sports drama, so it will narratively feel similar to films such as Moneyball or The Big Little Things memoir by Henry Fraser. I won't be using much of a narrative theory when writing this film, as the story is based on real events, instead I will be using research into the actually story by interviewing the people involved and then using sources, such as The Story Department's Masterclass on Adaptation, to appropriately adapt the story so that it's just as moving and emotive as it naturally is. The story follows two protagonists, father Nick and son Noah. Noah is a bright, passionate kid who dreams of playing rugby for his country, Wales, but when diagnosed with Perthey's disease (brittle bones disease localized in the hip) at 6 years old, life stops moving forward. Nick represents the audiences conscience in this story, he is always faced with the same choice throughout the film: helping his son achieve his dream no matter the consequences, or squaring his son with an actuality that seemingly cannot be avoided. When Noah's dream is initially crushed, he's forced to adapt to an unconventional way of living; he needs to be carried up and down the stairs, he needs to be walked to school in a push chair, he's separated from his friends daily (that's assuming he was ever given the chance to make friends). Noah often faces bitterness in life, in the people he meets, but that doesn't stop him from returning to the rugby pitch every day to kick a ball over the post, again and again; he feels as if it's the only thing he's allowed to do, it's the only thing he can do. All this is seen through the eyes of a father, Nick. Nick is a determined, faithful man who's determined to see his son succeed. His faith and responsibility is constantly tested throughout the film as he witnesses his son fall further away from his dream. Nick and his wife, Emma, are in prayer, in conversation with the Doctor, trying to find a way to heal there son. Noah is undergoing X-Rays every other week, the looming threat of operations tower over the family as Noah bashfully ignores safety precautions for his health. Even though there is frustration, the family persist through the trials together. Eventually, Noah learns that his rugby club has been chosen to be part of the selection process in Wales choosing of the Mascot representing the country in the World Cup. This news is the final nail in the coffin for Noah; he feels as if he's too late. He sits at the bottom of his stairs, the stairs he's never been able to climb, he wants to try one last time. Noah takes a step, he falls in pain and grabs the railing. He takes another step, this time holding the railing, but falls again. Noah manages to drag himself to the top of the stairs - 'This isn't a victory,' he thinks 'this is defeat.' He calls his dad to help him down the stairs. Nick walks his way up the stairs to find his son crying in his knees; Nick stops three steps from the top. He tells his son to walk without him. Noah doesn't believe him at first, but he knows that his dad has been with him throughout his entire journey, so chooses to trust him. Noah stands up and takes the first step down, it hurts so grabs the banister. He takes another step, it still hurts. Nick starts walking backwards ready to catch to him. But Noah takes another step, and it hurts a little less, and another, and another until he swiftly makes it to the bottom step without realizing. He's now face to face with his dad, miraculously healed. This is the story Noah then tells to the Wales Rugby tea, and it's the story that got him chosen to be the Welsh Mascot for the Rugby World Cup.

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This idea is incredibly ambitious, but I've chosen this one because of the story. The amount of potential this story has to creatively be directed and written feels boundless. I've also chosen this idea because of my accessibility to working with a team. Because of the scale of the project, I'd need to work alongside a large crew of people, including a producer, cinematographer, sound designer etc. I didn't want to go ahead with this idea until I knew I has access to these roles because I wouldn't be able to do all of them myself. CADS is a local theatrical company who I've been involved with for the majority of my life; whilst they've never made a film before, they are keen to pursue this idea after I gave them a brief pitch for the scope of the project.

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I decided against pursuing the 30 Minutes idea because I don't think it would've tested my skills enough to show a development in any area. I also don't feel the story would've captured the interest of CADS if I decided to pitch it to them. The genre also felt too similar to Abby, my last FMP, a thriller/drama, nothing inherently scary happens, but it keeps you on the edge of your seat. As a director, I want to explore different ways to express tension in a drama film; in Abby I wanted to explore a constant build in tension that doesn't drop, I wanted the audience to feel as if what was coming was inevitable. For Willman (my summer project), I directed tension as if it was a horror film; I prepared the audience for a jump scare that never came, it created a clever effect which led to a compelling narrative. In this film, I want to direct tension in a different way to what I've done before, I want to build tension through pace. If the film starts moving quickly, the tension should build, the minute it slows there's a release. I want this back and forth action to translate into the pacing of the film, mirroring the underlying narrative: Nick's choice.

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INFLUENCES AND INSPIRATIONS

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Understandably, I feel my greatest influence for the project has been whom this story came from: my cousin's life - especially hearing the story from my uncle's perspective. The way he told Noah's journey was what initially inspired me to write a concept for the film. A story about a struggling boy told through the eyes of a loving father; the meaning meant a lot to me, personally. I felt that this meaning could be transcribed into an adaptation, a story that was meant for screen. How could I adapt this experience to the 'big screen' so that others can be gripped by this dynamic pairing? I loved the idea of representing the relationship through a game of rugby (a sport which my family support passionately), rugby is iconically named as "a Hooligan's game played by Gentlemen". The respectful nature of the game is deeply rooted in its sportsmanship and collaborative efforts, and, in my mind, inspired the thought: 'Rugby as a metaphor for family.' This film is centrally a coming-of-age film which rugby has nothing to do with. You could argue that this film could use any sport as its advertising metaphor e.g. football or hockey, but when considering that the original story came from a rugby family, and the contextual background of the sport, I felt inspired to link my cousin's passion-enthused story closely with the sport, telling the story in tandem.

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An inspiration of mine for this project would be Henry Fraser's memoir 'The Little Big Things', an autobiography which has just recently been adapted into a musical at the Soho Theater. Fraser's story is similar to this idea, in terms of a journey about determination despite your dreams being wiped away. Fraser wanted to pursue rugby as a career but, at only 17, when celebrating in Portugal he went diving and struck his head, paralyzing his body practically from his shoulders-down. The musical better relates to the story I'm trying to tell, in the show, Fraser faces a life he could of lived; the audience witness his actual life and his potential rugby career simultaneously. I'm glad to see that there are other stories like this out there. I was inspired by the perspective in which the story was told, within The Little Big Things musical; I was fascinated with how the story was presented: through the eyes of who he could've been. This key perspective was actually what helped me make the decision to write the narrative from Nick's perspective. Films like Bend It Like Beckham, and Moneyball, are films which are told through the leading man which inevitably created their story. Countless sport/coming-of-age films are seen through the eyes of 'The man that did it', I want to present Noah's story through the eyes of a father, giving another perspective on an already powerful story. 

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Last year, I focused a lot of my research and creative direction on representing the theme of Death in a neutral light. During my studies, I found other 'adult themes' (is what I called them) which Hollywood seemingly find difficult to represent appropriately, or accurately. The main themes which I suggested were Death, Religion, and Illness. Typical Hollywood films (made for money) wouldn't go near an accurate representation of these themes, but I wanted to cover one of them in a mature, respectful way to prove that it can be done without insulting, or hurting a particular party. For this project, I want to revisit these adult themes and look into how they can be represented appropriately.

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In recent years, a crowd-funded Television series has populated streaming services globally, and it's quite surprising considering its assumed target audience. The Chosen, created by Dallas Jenkins, is a dramatized biopic depicting the life of Jesus and his disciples. Personally, I have only watched one season of the show, but when watching, I was interested by how the Christian belief's were represented without feeling forceful. I felt like I was watching these people's lives unfold, the struggles they face, the conflicts they encounter - just like any other traditional American TV series you'd watch. I'm inspired by how seamless the faith elements are implemented. I've related this to my project because my Aunt and Uncle's family are followers of the Christian faith, and I believe that their faith is critical to events of Noah's story. I don't feel it would be appropriate to leave this aspect of the narrative aside from the central story. Which is why I am influenced by how widely received The Chosen TV series was and by the methods and decision the creators made to get there. I would be interested to look into this more during my research to then apply it to the construction of my narrative. I think there is a lack of accurate representation of the Christian faith in the modern media today, I would want to build on what The Chosen is doing successfully - for the purposes of adapting the narrative from the source material faithfully.

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Technically, I'm fascinated by the direction in The Crown, and how natural the frame always looks. They achieve a simple colour grade by using minimal contrast between warms and colds, this gives the frame a genuine style as if we're peering into their reality seamlessly. I believe this decision was made because they're basing the story off of real events so it makes the show; the scenes, the emotional beats feel so much more genuine and relatable. I want to apply this to my film since Mascot and The Crown have that in common, they are both based on true stories so I want it to feel as close to 'real' as I can. I can achieve this through the use technical colour, practically and in post; it's inspired me to consider how to physically direct a scene through positioning and colour of lights. I will commit numerous studies of research toward The Crown during this project because of that 'adaptation' similarity. I'm also intrigued by the use of aspect ratios and what feelings they invoke in an audience; The Crown uses a very wide, horizontal aspect ratio, I'm interested to know why. For this project, I want to test different aspect ratios, the affects of switching between them during the film (as represented in The Crown). I've never used them in previous projects, purely because it combines the 'technical' and the 'creative', and in the past I haven't been confident enough in those areas, but watching The Crown has influenced me to consider how it will affect this project if I choose to apply it now that I have have seen development in those key areas over the past year.

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Steve McQueen is one of my directoral inspirations, I love his use of shots and how his editing techniques can craft a scene or story. McQueen is known for holding on a shot for a long period of time, as it keeps you captivated and doesn't distract you by using a cut anywhere. That isn't to say that he rarely cuts in his films, but on scenes that don't need them, sometimes he just leaves the actors alone with a camera on a tripod. In his 2008 film 'Hunger' this is exampled well, in the famous scene where two characters talk over a table for 24 minutes, Steve doesn't cut the entire length until the very end of the scene, to cut to one of the characters monologue-ing. The shot is nearly 1/3 of the entire film, and McQueen doesn't ever feel the need to cut away. It keeps you captivated and you can't look away from the same shot the entire length. For my project, I want to use that same technique of captivation. I want to keep the audience engaged with the characters by holding on shots for longer amounts of time. For the school scenes especially, to show the slowness and captivity that school makes you feel, stereotypically, I could hold on the shots for the scene and leave the audience captivated by what's about to happen next.

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Project Context

In previous years, I have worked alongside CADS, a local theatrical company, who organize and run productions throughout the year. I have been involved in putting on a lot of these productions working behind the scenes; I've only notably been a member of the stage crew, maneuvering set pieces between scenes. Technically, it isn't the most educational job, but I've still been able to understand the inner-workings of the production team. CADS are familiar with who I am as me and my family have been working with them for nearly a decade; this is one of the reasons I wanted to pursue this Mascot idea to begin with. When writing up my idea and creating a short proposal, I named the idea 'Canonical Ambition', in reference to my tendency to aim too high in all of my projects. When I finished writing the concept for Mascot, I could see how large the scope of the project truly was, and the film would need a high production value in order to be successful. Having made the connection to CADS, and having recently finished a production with them, I thought my opportunity to pursue this project was better suited now than any other time in the near future. Seeing this window of opportunity has influenced me to start developing this idea into what it is, and hopefully produce this project with CADS.

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As a film maker, I want to gain experience from working on larger sets to deepen my understanding of the professional working environment I'm so desperate to get involved in. I want to practice and expand on my abilities to direct actors and crew professionally. I mainly want to learn how to work alongside a production company so that I'm not new to it when I officially begin my career. I also want to possibly submit this film into the Raindance film festival for June this year, this could possible gain me some starting recognition in the industry leading me into other jobs into the near future. With this in mind, I need to be conscious of how licence and credit this film, I need to ensure that every method used in the production of this film is appropriate and legal; such as, complete permission to use certain locations, DBS checks etc.

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TARGET AUDIENCE

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This film's target audience is understandably niche, but ironically spanning multiple generations. Since the film follows two protagonist's, I feel the film will appeal to both generations represented, and the roles that those protagonists play. The film is shown through the eyes of a loving father, so I think this film would gravitate a paternal audience, people who would be able to relate to protecting your child at any cost due to nearing-unconditional love. This film could also be a good lesson to the paternal audiences; I'm no father myself, but this film's narrative and events don't come from my mind, they are based on reality. I want to show a representation of fatherhood that's daring but responsible - how I believe all father's are - willing to push you to your limits knowing that it will make you stronger. It's a mentality that I want this target audience to relate to, and possibly even learn from. I will do this by talking to Nick himself, and discussing how his parenting influenced the events of the story, and how it affected Noah and his journey; this discussion will heavily influence the script and how these characters are represented.

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The second protagonist would influence another audience from a different generation, strangely an 8 - 12 year old boy. The film follows a very young kid battling through something arguably no kid should be experiencing; but it is a perfect example of determination that this young audience needs to see. I've mentioned previously that this 'character type' has been seen before in other sports/coming-of-age films, so even though the character's type isn't completely original, the audience is still attracted nonetheless. When I was younger, seeing this sort of representation in characters on screen was something which I would instantly relate to, when I was younger, all I wanted to be was Anakin Skywalker from Star Wars: Episode One, I thought he was the coolest kid on screen: racing, fighting etc. In this film, I want to present an appropriate role model which young boys can relate to, Noah is naturally determined and doesn't feel defeated by his limitations, he learns to adapt, and accept.

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A perfect audience member for this film would be an adult 35 year old male, on the cusp of fatherhood. They would be a Christian, white, middle class Welshman living in suburban Cardiff who is an avid fan of the the Six Nations and the Rugby World Cup, supporting Wales and part of the local club. He's just discovered that his pregnant, 37 year old wife, of five years, is having a son, this would be his first child. He isn't too sure how he feels about becoming a father, none of his friends or siblings (two brothers) are father's so he's never had experience as an uncle. He would also attend, and be heavily involved, in his city church, where he shares mutual friendships among the congregation of roughly five hundred. The majority of his core friend group, however, are non-Christians from his work as a successful physiotherapist. He would be someone who doesn't feel completely ready to welcome a son into the world but wants to make sure they do it right. Fatherhood is one of the central themes that this film will follow, it shows the importance of being daring but also the necessity for responsibility even when it seems unfair. The film also revolves around the pursuit of a rugby career. This audience member would arguably be similar to this as well, he would need to also relate to Noah, as well as Nick, in terms of who this man wanted to be when he was a child, at Noah's age.

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The secondary audience demographic for this film would be those interested in coming-of-age/sport related films who would also be primarily male, they would see relatibility in the relationship between the male lead and his coach/mentor, having been familiar with this sort of conflict in their own lives. I feel by considering this audience when researching the film, it'll remind me and allow me to pick from the genre stereotypes that this audience would be so familiar with in other, similar films of the same likeness. This demographic would prefer these types of films to others because of how easily they connect to sports in their own lives; they'd gravitate towards teamwork and sportsmanship as this is something that they'd value highly in their lives.

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Another key part of my audience, you could argue as the tertiary demographic, would be the Christian group, this film will be lined with Christian undertones. I don't want to be preachy when directing this film, I want to represent the family's belief's accurately to the events of the story. I feel this approach to this factor will neutrally appeal to both Christians and non-Christians, I want both audiences to be able to watch this film and be able to relate to the characters despite their faith or because of it.

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RATIONALE

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After creating a short film, independently, over the summer, I was inspired by the level of professionalism my team and I worked at. I want to replicate and build off of this standard to develop my skills further so I'm ready for potential work in the industry or study at university. The idea for Mascot came around later that year when I learnt of my cousin's inspirational story on how he became the Welsh mascot in the rugby world cup. It was characteristically ambitious, but the perfect opportunity to develop the skills in which I desired. I saw a chance to work with a production company, the key to developing this standard, when they were advertising a voluntary director role for a future project. So I pitched the idea and they were interested, which kick-started this FMP. I want to practice my colour grading skills for this project, I researched the topic in my top slice and it greatly increased my confidence in the craft. I want to explore it more in my project alongside Directing, I want to tell a story through colour and unite the two skills

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I also want to ensure I adapt a real story to the screen faithfully, I feel the best method of doing this would be to consult my Aunt and Uncle throughout the execution of this project. I will arrange frequent meetings with them to go over certain aspects of the project e.g. creative licence, script, casting, directorial choices and justifications, this will ensure I'm continuing this project respectfully.

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SUCCESS

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I want to adapt a true story faithfully, respectful to the source material by consulting the original people in which this story involves. I will have accurately represented all events, belief's and characters through a creative short film format, dramatizing a compelling narrative to fit traditional drama genre conventions. I want to execute each phase of production in a short film's creation, that being: pre-production, production shoots, and post-production, at a professional, high standard while acting as the role of director. I will ensure this by directing a creative and technical team of cast and crew, and ensure I establish a firm understanding and creative lead on the whole project. I will manage creative meetings with the technical team to ensure they are comfortable and have a complete understanding of their task and role, and execute it to high standard of professionalism (using correct terminology, appropriately sourcing equipment, costume etc.). I will work closely with the actors to ensure they feel rehearsed and creatively prepared for the roles they are representing through planned rehearsal dates and clear direction during shoots. I feel this will establish my success within the director role when adapting this true story to film - by managing, developing and delivering on a creative vision through a collaborative process.

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GROUP WORK

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The summer project opened my eyes to the positives that come from working in a group. Looking back, I see that I couldn't have done it without every single person involved. Tommy worked as the cinematographer for the film, we've learnt that we work well together and bounce ideas off of each other well to enable a well executed film. For this project, Tommy has agreed to work alongside me in the development and creation of this idea; he's also decided to use this film and role for his own FMP. Last term showed me the challenges of working in a group. For two of my projects, I needed to work with another group of people, I struggled in this environment because of this amount of different ideas being thrown into the projects. Eventually, one of the projects ended up failing due to lack of collaboration, the film was that bad. From that experience, I learnt that group work can sometimes be the downfall of a project if not managed correctly. With this in mind, I need to be aware that this is just as much Tommy's project as it is mine, which means I will need to compromise in certain areas of the project to allow for Tommy to get what he needs.

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Working with a production company is a possibility for this project, there is a chance that we get to work with CADS and pull together a small team of crew and run auditions to enable a cast. This is a big step up from what I'm used to so will require keen, adaptive skills, I've never worked at this scale before so will need to prepare through possible research into the workings of a set. I also may need to figure out managing such a large team; the role of the director is a heavily creative role but, depending on how much admin is left to me, I may also need to assume the producer role. I feel prepared to do this, in previous projects I have completely produced my own projects. For my Year 1 FMP, I produced every element of documentation and pre-production rehearsal's meeting etc. This may not be new territory for me but, just like the rest of this project, everything has been amplified to a much larger scale. 

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SKILL DEVELOPMENT

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Over my two years at college, I've seen development in a variety of areas surrounding film making, and because of this development, I categorically understand that I want to go into film director as career in the future. Within this role, there are so many key technical skills which I'm yet to fully extend my resources to, and I want to take the opportunity, that this project is offering, to develop them.

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The number of potential roles this project needs filling are numerous, Tommy and I are only taking on the cinematographer and director/writer roles. The roles which would've traditionally needed most of our attention will instead be taken on by others, volunteering to produce this film, from the CADS production team. This takes enormous amounts of pressure off of Tommy and me which then allows us to focus more on our chosen roles and the nicher technique's within them. I will be taking on the director/writer role for this project just as I did in my previous FMP. I did consider the cinematographer role for my 30 Minutes idea, however, I technically didn't feel my abilities would be stretched enough (in this specific idea) to present any noticeable development you'd want out of an FMP. Tommy also had expressed interest in working together for this year's project as a cinematographer, so I saw the opportunity to further develop my skills in my desired role and took it. After completing my prep work/top slice, I discovered how much of visual directing I have left to learn. Last year, my focus in directing was on costume design and editing dialogue, I feel I accomplished this to a good standard and will apply what I learnt in this years project naturally. This year, I want my focus to be on colour theory, I briefly studied colouring last year but never ended up using the research in the production of my film. I want to properly analyse the use of colour this year, I want to learn and understand what it takes to direct a story through the clever use of colour. My prep work taught me the importance of warmth and coolness in the colour spectrum of a film, how different tones can create a completely different shot depending on what the director wants to achieve. I want to harness that skill this year, and tell a story through the use of colour both practically and in post production.

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I also want to see development in my ability to direct actors to tell a progressive story. In previous projects, I've worked with a maximum of two actors each, and in both short films, the story is literally one long scene. This film stretches outside of what I'm clearly familiar with, the narrative spans over 2 years altogether. This film will be new territory for me, as I've mentioned before, every other film I've made has been one scene; all the character development, the rise in tension and stakes, has all taken place in 'real time'. All scenes in this film arguably have at least two weeks between them, if not more. I need to make sure I keep the pacing, and the development of the narrative consistent and continuous and not feel choppy or jumpy. And I feel I can do this through directing the actors in certain way. In my other projects, I've really focused my 'actor directing' on purely bringing the page to screen; this time, I want to explore each character's depth alongside the actors outside the limitations of the script. I want to explore tones of dialogue, body movements, expressions; all this but also in relation to the camera. I want to learn how to unite the actor's performance with the camera, and how I would tell a story through this method of directing. To prepare for this, I will complete practical research exploring different ways an actor can deliver a line to the camera and how it can change the meaning and feel of a scene. I will also want to organize many more rehearsals than I have done in previous films, so that the actors have a more thorough understanding of the story and characters. This will increase efficiency in production shoots as all the creative disagreements or discussions will have already been settled, therefore not requiring as much foregoing direction on the day. Hopefully, I will be able to come away from this project having developed a thorough understanding of directing actors, preparing me for the crucial skill needed on a professional level.

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Directing genre and adapting true stories to screen- practically - is another set of unique skills which I'd like to learn. A perfect example of this pairing would be The Blind Side (2009), I will use this film as a critical study toward directing a true story through conventions of sports drama. This area of film is actually one I've been interested in personally but have done anything like it before; to me, this is considered as a completely new side of directing which I'd be interested to explore.

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A core skill I wish to develop further than I already have, is directing a crew. The director is responsible for ensuring crew member's understanding of their role in the creative production steps of the film. They are responsible for initiating a creative vision and coordinating the approach toward completing this. In the past, I've only ever worked alongside a cameraman and a couple of actors. This time, I will be directing a full team of cast and crew so will need to be prepared for this level of management. In preparation for this, I will have meetings with all crew prior to filming dates, both individually and as a whole. In these meetings, we will discuss technology and hardware, and go over anything with anyone that may not be familiar. I will establish my creative direction a vision for the film early on (e.g. proposal, storyboards, script), to ensure a thorough understanding throughout the team. I feel learning skill will establish a greater professional work ethic in the way I approach film making, bringing me closer toward my over arching desired goal: Establish my directing skills professionally in preparation for university and a career in the industry, as well as broadening my portfolio.

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RESEARCH AND EVALUATIVE THINKING

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In my early studies for this project, I will work closely alongside Tommy in developing a visual style for the film, we will research the differences between aspect ratio's and the importance of different effects they catalyze. We will do this through practical tests with the camera and analyzing the different effects it has on our own shots; and we'll also complete secondary research in this area reviewing existing films with changing aspect ratios and discuss the effects they have on the style of the film. This will help influence my decision on which will work best for the film e.g. 4:3 or 2:1 etc. During this process, I will keep aware of Tommy's importance in the technical aspect of the film, this is his project too, so I will need to compromise in certain areas. I will justify and document every decision or compromise made during pre-production and research phase in the corresponding tab.

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I will also complete thorough research into colour theory, and lighting sets practically using natural oranges and blues to create warm or cold scenes. I want to plan where I want the different temperatures throughout the film to invoke meanings in different characters, metaphors, and mise en scene. I will watch YouTube tutorials and practice their suggestions, as well as reviewing their effectiveness in teaching. I will also study colour practically by doing live action tests and then editing in premier pro developing my skills in the software, critically evaluating my progress as I work through screenshots, documentation and then the final result of the test. And then I will apply what I've learnt to the final film to the best of my ability explaining my reasoning for all creative decisions involving colour.

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Since I am adapting a true story, I will be conducting primary research through interviews with those involved in the original events, to ensure the accuracy of the narrative. I will ask question's such as: How did you feel faith played into the events of what happened to Noah? Would you like to be involved in the casting process? Would you want to be acting consultants for the actors when filming? The interviews will be documented and reflected on, and assuredly used as a critical influence for the creative direction of the story. To further ensure the story is adapted appropriately, I will complete The Story Department's masterclass on Adaptation and also read Davinia Thornley's academic study on 'Scripting Real Lives' in her thesis on True Event Adaptation. This will help me understand both theoretically, and practically how to tell a real life story through the art of film.

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CONCLUSION

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I will plan and produce a short 15 minute drama film consisting of different, mature themes surrounding family, and the importance of sticking together to push through any trials and tribulation. I will largely focus my attention on clear directing so I can convey these themes in a proper, sensible fashion, ensuring I adapt the real life story faithfully and respectfully. I will do this through developing my understanding of working in a team of people and enhancing my knowledge of specific directoral skill sets such as colour editing, directing actors, writing etc. I will execute my vision by collaborating responsibly with a team of people, considering others' ideas appropriately, to eventually deliver and produce a short film which could be entered into film festivals around the country, as well as preparing me for a career in the professional, film making industry.