StoryBoard and Shotlist

 

This is the Storyboard and shotlist for my short film, (it starts from the bottom of the document because of formatting issues)

The Ellington Kid

 The Ellington Kid

The narrative structure of The Ellington Kid deviates from a typical short film format by alternating between the present and flashbacks. It opens with two friends, Nathan and Beefy, in a kebab shop, where Nathan begins telling a story about a stabbing incident. The film then shifts between Nathan recounting the story and flashbacks depicting the event. The film ends with a dark yet humorous twist, implying that Beefy may be unknowingly eating human flesh in his burger.

Editing :  the editing alternates between fast-paced, jumpy cuts and slower, more lingering sequences that heighten the sense of dread. For instance, the slow, extended shot of the kid stumbling into the kebab shop contrasts sharply with the quicker cuts elsewhere, emphasizing the gravity of the moment and building suspense. The film adheres to continuity editing principles, like the Kuleshov effect, which enhances realism by creating connections between the shop worker’s knife and the gang members’ reactions. This approach immerses viewers in the film’s world and reinforces its verisimilitude.

Sound : Sound is used to enhance the film's tension and emotional impact. The film opens with the sharp, high-frequency sound of a knife being sharpened, immediately grabbing attention. During the chase scene, sound builds suspense, with the soundtrack intensifying the emotional stakes. When the kebab shop worker locks the gang members in, the music shifts from tense to a nearly blissful synth arrangement, signaling a sense of closure. However, as the film nears its end, the music abruptly turns harsh and discordant for a moment before cutting back to the present, hinting at the dark events that occurred off-screen.

Over

 Over

The title Over carries a dual meaning. On one hand, it symbolizes the end of something, fitting as the film unfolds in reverse, showing events from the conclusion to the beginning until the man’s tragic fate is revealed. On the other hand, it suggests something falling from "overhead," which aligns with the man’s fall from above. Based on a true story, the film recounts a man who fell to his death from a British Airways flight while hiding in the plane’s wheel well. The moment of his fall is deeply unsettling, made more disturbing by the fact that it really happened.

Editing : The editing is unconventional, using a reverse-chronological narrative that builds mystery by showing the aftermath of the key event before the event itself. As the film progresses, we gather clues from the traces left behind, culminating in a shocking reveal when the event finally occurs. This reverse structure heightens the impact in a way that a linear narrative wouldn’t. Additionally, the frequent cuts to personal items and pieces of evidence evoke empathy and provide subtle hints about what truly transpired.

Cinematography : Cinematography is crucial, with most of the storytelling conveyed through just nine carefully composed wide shots. The static camera remains fixed while characters move in and out of the frame, such as a car being towed away, followed by a man and child entering from the opposite side. This methodical pacing builds suspense and mystery, encouraging the audience to piece together the unfolding events. Prolonged moments of stillness in these shots slow the film’s pace, giving viewers time to reflect and absorb the story’s deeper layers.

Slap

 Slap

Slap (dir. Nick Rowland) follows Connor, a teenage boy struggling with self-expression through makeup and feminine clothing, while also being a respected boxer in his hypermasculine community. Set in a rough area of Liverpool, the film opens with Connor secretly applying makeup, only to panic and hide when his father calls him. This is contrasted with scenes of him boxing, highlighting the conflict between his true self and societal expectations. As Connor grows more confident, he attends a party in women's clothing, but his friends dismiss it as a joke, leading to frustration. Betrayed by his friend Archie and rejected by his girlfriend Lola, Connor's internal turmoil culminates in a violent outburst in the boxing ring, where he unleashes his pent-up rage on his opponent.

Mise-en-scene : The gloomy, dull setting reflects both the realistic weather and Connor's bleak outlook on his life, where he feels trapped in an identity he's expected to own. This contrasts with vibrant pops of colour when Connor expresses his true self in feminine clothing, symbolizing freedom and authenticity. The use of colour is expressionistic, mirroring the emotions of the characters. In the boxing room, the dominant red tones represent both bravery and anger, highlighting the internal conflict Connor faces.

Arrival

 Arrival

"The Arrival" (2016), directed by Daniel Montanarini, is a short film about a pregnant woman named Anna, who is in a café deciding whether to order decaf or caffeinated coffee. This seemingly minor choice mirrors her larger, pivotal decision about whether to keep her baby. Through her internal monologue, the film explores the significance of this choice and the emotional weight it carries. Inspired by Montanarini's documentary "All About Mothers" and a photograph by Alexander Nesterov, the film delves into the complexities of Anna's decision-making process.

Mise-en-scene : Mise-en-scene plays a crucial role in this film, using setting, costume, and extras to convey deeper meaning. The café setting, with its coffee cup, booths, and menu, establishes Anna’s place in the story. She is highlighted by bright lighting against a darkened background, drawing attention to her white t-shirt and pale skin, emphasizing her role as the main character. The cafe’s design, resembling a train carriage with curved lamps and windows, serves as a metaphor for Anna's journey through her pregnancy and decision-making. Subtle choreography of extras adds layers to her internal thoughts—for instance, an old woman near a clock reminds Anna of her biological clock, while a couple entering triggers thoughts about her own relationship. These small details, while understated, enhance the film’s depth on multiple viewings.

Cinematography and Editing : editing and cinematography are minimal. The entire film is one continuous shot with no cuts, allowing full focus on Anna's dialogue and performance. It begins with a shot behind a blurred glass door, creating a sense of mystery as we can only glimpse a figure moving behind it. When the door opens, the camera slowly dollies in, moving from wide to mid-shot, and finally to a close-up, building tension as Anna debates her decision about the baby. At the pivotal moment, when she decides to keep the baby, the camera remains in a close-up, only pulling back slowly when the man she was waiting for arrives. However, the camera stays focused on Anna, never revealing the man’s face, leaving his identity a mystery.

Echo

 Echo

"Echo" tells the story of 17-year-old Caroline, who begins the short film by receiving a call about her father's motorcycle accident. Her distress prompts help from passers-by, but things take a turn when Caroline leaves the scene, revealing her calls are fake and part of a reenactment of her father's death. The film presents various reactions from strangers, highlighting how they respond to her deceit. It explores the impact of her father's death on her family, feeding viewers important details while leaving some open to interpretation. The short challenges us to decide whether to be appalled by Caroline's manipulation or empathetic toward her plea for help, and concludes with an open-ended narrative. 

Cinematography : The film uses camera work as a crucial micro-element to present multiple perspectives, reflecting both the onlooker's view and Caroline's mindset. It opens with a wide shot of a busy city street, where Caroline appears amidst the crowd with her ringing phone, making the audience search for her amidst the chaos. As her call unfolds, the film shifts between close-ups of her reaction and wider shots of the surrounding environment and bystanders. In the cab, a mid-shot captures Caroline and the people who helped her through the back window, revealing her intentions as she checks for their presence before exiting. The camera alternates between close-ups and wide shots to emphasize Caroline's reactions and the observers' perspectives. This stable, precise cinematography contrasts with the shaky, handheld shots at the end, which suggest a return to the original call about her father. Throughout the short, recurring motif shots, such as Caroline in various locations and reflections, reinforce the sense of repeated situations and her ongoing struggle with her father's loss.

Sound : The sound design in this short film is notably dynamic, reflecting the busy atmosphere of the city center. The constant background noise contrasts sharply with the silence outside these areas, emphasizing the gravity of the situation. A notable example occurs at the start, when Caroline enters the cab following the initial phone call. The bustling sounds of people and traffic fade, leaving only the amplified sounds of Caroline's breathing and the cab's movement. This stark contrast enhances the emotional weight of her transition from the chaotic city to a moment of personal reflection.

Operator

 Operator

"Operator" is a 2015 short film written and directed by Caroline Bartleet. Set in an emergency call center, it centers on a 999 operator handling a distress call about a fire in a woman's home. The caller, Gemma, has discovered a blaze in her house and, to make matters worse, her son Jamie is trapped upstairs. The film presents the situation from the operator’s perspective, Laura, as she manages the high-stress and frightening circumstances. Eventually, both Gemma and Jamie are rescued from the fire, and the call concludes. We then see Laura take a moment to breathe before preparing for the next emergency call.

Performance : Performance is crucial to this film. Since we never leave the call center, the reality of the fire is entirely conveyed by the actors. The film relies heavily on mid shots and close-ups, which accentuate the nuances and subtleties of Kate Dickie’s facial expressions. Kate rises to the occasion, vividly portraying the harrowing situation with a blend of outward calmness and underlying intense stress. Vicky McClure, who plays Gemma, is a voice actor in this film. While one might think this would be easier as it eliminates concerns about facial expressions, it actually presents a greater challenge. Vicky has to convey the gravity of the situation solely through her voice, without the aid of body language or facial expressions. She succeeds brilliantly, delivering a performance that is both terrifying and genuinely distressing, keeping me on the edge of my seat throughout.

Sound : Sound plays a crucial role in "Operator," as the film relies on it to convey its story without needing action scenes. Since we never see Gemma or the fire, and the narrative is confined to the call center, the story is communicated entirely through Gemma's phone call. To enhance realism, the film applies a muffled, telephone effect to Gemma's voice and uses similarly muted foley for the fire's crackling as it spreads. At the film’s conclusion, only Laura's deep, labored breaths are audible, and their increased volume underscores the intense and distressing nature of the experience.

Tight Jeans

 Tight Jeans

"Tight Jeans" is a film that emphasizes dialogue over plot, blending light comedy with deeper social themes. The narrative follows the classic three-act structure, set in a scenario where three young Black men are waiting for a ride. While the dialogue is playful and humorous, it touches on serious issues like race and culture, starting with the question, "How can a man wear jeans that tight?" As they continue their conversation, the film introduces a new bystander, who prompts a repeat of the initial question, leaving the narrative open-ended. Director Destiny Ekaragha remarked, "I think sometimes laughter is the best way to talk about serious issues, because it stays in your head longer.

Mise-en-scene : The mise-en-scene in this film creates both a strong sense of realism and a visual contrast between the characters. From the very start, Destiny uses mise-en-scene to highlight the importance of clothing in the film's narrative. The frequent focus on clothing stalls and various outfits culminates in a sign reading 'Men's Trousers,' emphasizing a key thematic element. The three main characters are dressed in similar styles—baggy jeans, bright jumpers, and trainers—creating a uniform appearance. This is juxtaposed with the dark, skinny-jeaned 'Emo' teen who passes by, highlighting the stylistic and cultural differences. Additionally, Destiny uses mise-en-scene to convey deeper meanings: Theo, the voice of reason, wears a blue jumper symbolizing calm and wisdom; Joseph, who is loud and impatient, is dressed in a red jumper; and Marcus, who mediates between the two, wears orange, a colour that bridges the extremes of red and blue.

Cinematography + Editing: The cinematography and editing in this short film are quite straightforward. It adheres to the principles of continuity editing, employing techniques such as establishing shots, mid shots, and close-ups. The conversation begins with a wide establishing shot that gradually dollies in on the main characters, setting the scene in a London council estate. This approach enhances the film's sense of realism, aiming to immerse the audience in the world without any distracting, expressionistic elements. Instead, it directs attention to the subtly authentic and engaging performances.

My Favourite Character

Ferris Bueller from "Ferris Bueller's Day Off" is the king of skipping school. Here’s how the three things we learn about Vincent Vega from "Pulp Fiction" would apply to Ferris:

1. Car: Ferris would definitely drive a flashy red Ferrari 250 GT California. The ultimate symbol of freedom and fun, perfect for a guy like Ferris
2. Restaurant Order: In a restaurant, Ferris would go for something extravagant and delicious, like a gourmet burger with all the toppings a large side of fries, as he’s all about indulgence and enjoying life to the fullest.
3. Music: Ferris's music taste would be wide-ranging, leaning heavily towards the upbeat and energetic. Think 80s hits like "Twist and Shout" by The Beatles (he did perform it in a parade) and other fun, danceable tunes from bands like Duran Duran and The Cure.

Five more things about Ferris that we don't know from the film:

1. Perfume or Aftershave: Ferris would wear something fresh and youthful, like Ralph Lauren Polo Blue, as it’s sporty, casual, and perfectly matches his charming personality.
2. House: Ferris would live in a modern, stylish apartment in the heart of Chicago. It would be filled with cool gadgets, a sound system for blasting his favourite tunes, and a rooftop terrace for throwing many parties
3. Favourite Book: Ferris’s favourite book would probably be "The Catcher in the Rye" by J.D. Salinger, as he can relate to Holden Caulfield’s desire to break free from the norms and live life on his own terms.
4. Favourite Movie: His favourite movie would likely be "Back to the Future", as it’s all about adventure, breaking rules, and having a great time – just like Ferris’s own philosophy.
5. Hobbies: Besides his obvious talent for skipping school, Ferris would probably be into photography as he’d love capturing moments of fun and adventure with his friends, creating memories that would last a lifetime.

The Fly

 "The Fly," directed by Olly Williams, is a hilariously captivating short film that follows the misadventures of a getaway driver awaiting the end of a bank robbery. His tranquillity is shattered by an incessant fly in his car, which drives him to the brink of madness. The lack of dialogue in the film places a heavy emphasis on sound design. From the onset, the tension is palpable with the sound of guns being cocked and instructions being given, setting the stage for a high-stakes scenario. However, the focus shifts unexpectedly to the situation of the getaway driver, accentuated by the relentless buzzing of the fly. This auditory assault not only immerses the audience in the character's frustration but also evokes empathy for his predicament. As the heist unfolds in the background, the escalating intensity of the sounds from the bank mirrors the driver's growing agitation.

Cinematography and editing play pivotal roles in portraying the protagonist's deteriorating mental state. Initially, the film employs static shots and deliberate editing to convey a sense of calm. However, as the driver's irritation mounts, the visuals become increasingly erratic, with dutch angles and shaky handheld shots intensifying the chaos. Close-up shots of the fly exaggerate its size, emphasizing how a minor nuisance can escalate into a major ordeal. Through clever editing, moments of frenzied action inside the car are juxtaposed with serene exterior shots, highlighting the absurdity of the situation and eliciting laughter from the audience.

One standout scene involves the driver's desperate attempts to rid himself of the fly, inadvertently triggering the car horn and causing the airbag to deploy. The incessant blaring of the horn, amplified by the skilled sound design, adds to the comedic chaos. Ultimately, the film concludes with the driver snapping back to reality, realizing the havoc he has wreaked as police sirens wail in the distance. Through its masterful use of sound, cinematography, and editing, "The Fly" delivers a comedic and thought-provoking exploration of how even the smallest annoyances can lead to madness.