After completing the editing, we used a Merantz recorder and Rode mic (which works in the same way as a rifle mic in only recording everything directly in front) to record the rest of the dialogue (having already got the mum’s and Owen’s on the two days of filming). As two of our actors let us down and wouldn’t return my texts or emails, I had to provide the voice of the drug dealer whilst a friend provided the voice of the dad (we had a few options for him, but since none of them were actors, we felt it would be better to use the friend from Yorkshire, as their accent is stereotypically seen as loud and angry, something that the part demanded).

On the latter 2 pieces of dialogue, and the piece that accompanied the mum visual, we put reverberation on, with the setting of medium room, so that it made it clear that it was a flashback. We also added an echo on “Find somewhere else”, the mum’s last line with the accompanying visual, to make it obvious that they’re now living in their own place, and also as something that had stayed with them.

With the off screen dialogue at the end, which sounds as Owen realises Sid is dead, we used the LowPass filter, to only let high frequencies through, which created the effect of them being on the phone, and without the reverberation, it made it clear that it wasn’t another flashback, more a “flash forward”.

FOLEY SOUNDS

We then watched through the whole edited version and made a note of every possible thing that would create a sound, involving; shuffling, inhaling, exhaling, drinking, rustling paper, playing with the lighter, footsteps, knocking the belt etc. All in all we came to a list of 109 sounds and then went about getting them. We wanted to make the sounds as natural as possible, but to overlay them and attempt to recreate the atmosphere of the moment.

To help with this we recorded the sound of water dripping and creaking pipes, to help get across their poor living situation and how they spend all their money on drugs.

On certain items, where we forgot to get a sound, we had to try and edit another one to make it sound different. This was the case with trying to get the clink of a glass bottle. For this we used the metal banging together from the belt, used a HiPass filter to make sure it was a high pitched clink sound.

For every sound we did, we tried to make sure they we didn’t use the same sound later on without changing settings to make it sound differently, and, for a lot of the sounds, we had to put together several different recordings, such as for the door. We used one recording to get the opening sound, then a different creaking sound, then the closing creaking sound, followed by the slam.

We wanted to create sounds that represent the mood of the visuals, and so we wanted to create outdoor noise for him in the park that had no building noise, traffic etc and just chirping birds, a more positive atmosphere showing his future compared to his past. To do this we went out at 4 in the morning to the same place where we filmed, so it would have the same kind of sound with the surrounding trees.

Comments

Having used 2 cameras when filming, we had 2 pieces of footage that matched up exactly, making it easier to cut between the 2. We had talking about how we wanted to use additional sounds recorded to create an atmosphere, however one of the cameras didn’t pick up any sound and so we decided to re-record everything, so we would have complete control on what audio we could use. We had also talked about the pace of editing we wanted to use. We decided we didn’t want to create excitement with fast paced editing that would involve the audience in the drug taking, but also didn’t want it slow and ambling along as we had a lot to get in with a very real purpose, so decided for a medium-paced edit.

All in all for the drug taking scenes we used 3 main types of shots; long/wide, mid and close-up. We cut from long to mid (where it was the same footage as these were the 2 cameras filming at the same time) and hen for specific, important, realistic moments we cut in from mid to close-up.

Using the colour corrector we desaturated and lightened the pictures slightly (so they were still dark, but so facial expressions etc were clear) to make them dingier and as if colour and warmth had been sucked out of their lives. We also stretched and zoomed in on the images to make them grainy, to add to the aforementioned dingy effect and so it didn’t seem like we were glorifying drug taking.

To add to the surrealism in these scenes, and with the placement of the TV, we took the footage on their mum speaking to them which we used for the projections, and cut it down to just her mouth moving, desaturated it and made it quite transparent, and then stuck it on the TV. We didn’t make it obvious and so transparently overlaid it so that it looked as if it was only something that Sid and Owen were aware of, and not something that a drug-free audience might specifically pick up on straight away, and if they did, would recognise because it wasn’t fully coloured, that it was the twins’ imagination.

The final shot of the scene was to show the progression of time and to reinforce the death of Sid; we thought by making him disappear whilst Owen sits motionless, we could create an emotive shot that would show that Owen was still coming round from his drugs binge and slowly coming to realise what had happened. This shot has been used in many different TV shows and films, the latest that I have seen being in Scrubs, when organs infected with rabies get given to patients who start dieing. We used a cross fade/transition on a shot with Sid in it, to one with him not there, before fading to black.

For the next scene where Owen is walking down the hallway, we just left it as one symbolic shot, before he opens the door, on its swing back, when cut as the very moment that the door closes. This is something we picked up from Scorsese in his brilliant Goodfellas. When a car door slams shut, he cuts to another image, not a frame before or after, creating a string of images that flow.

On the outside footage we used two cameras again, one from the side and a long shot and the other from in front, as a mid-shot, with Owen placed on the left side of the screen. We also filmed afterwards an extreme close-up of the letter, and him playing with the lighter, and a close-up from behind him reading the letter. This, at the end of the drama, allowed us to cut quickly between shots to create a bit more excitement that he’s getting on with his life.

We again used the colour corrector on these shots, but to set the white of his tie as the over-riding colour of the whole shot, to make it look brighter, like he’s now got more to live for.

The titles we decided would come up instantly with the shot. The name “Every Cloud” is obviously from the saying “Every cloud has a silver lining”, the majority of the audience will be able to read into this so we didn’t feel the need to put the whole saying. We also didn’t put it at the start of the drama as we didn’t want it to tell the audience what was going to happen.

Comments

Tuesday 25th March

The first day of our filming took place on Tuesday last week. Using the equipment that me and friend had picked up yesterday morning, i set up the canon xl1 up with the tripod and used the mini dv tapes that i brought from tesco's that same morning. I removed my 300 poster off my wall because i believed it would have been a distraction in the background when filming the mum "Sandra". While i was setting up the equipment Jake Warren another member in our group, was getting a lift to the train station and back to pick up our Mother character "Sandra". When they arrived at the uni i had set up the location and the equipment, then after a quick brief over on the script and dicussing what mood of voice we wanted from "Sandra", we continued to do a few close up takes of her saying her lines until we were satisfied with what we had. Then also using the same audio equipment we had used in our documentary we then also had "Sandra" repeat her lines into the microphone, so that our audio was at its best quality. After this Jake payed the actor and then took her back the train station, while i continued by putting a new tape in the camera and then put a t-shirt over the camera, i let the tape play all the way through and also did the same with another, so we weren't going to have any last minute dramas with the tapes after filming. Later Jake returned from the train station and we went over to his room to prepare for tomorrows filming. First started by making fake blood using washing up liquid and abit of red food dye. We then putt a few rip holes in the sept-dads shirt and smeared some of the fake blood onto it, we then continued to do the same thing with the jacket as well. We then put the shirt inside the jacket and put them on a hangar to hang dry in the bathroom. All we had to do then was sort out the outfits of the twins. We boiled a bit of water and put it in a big oven dish with a few tea bags so that we could stain the jumper and the vest for both twins, we then continued to burn a few cigarette holes in boths of them as well. We then continued to rip a few holes in both trousers, but later on one twin wore jeans instead because they went with the jumper better. We then proceeded to hang both of them as well so they could dry out for tomorrow. Then just before the first night ended due to our male actor not arriving for some apparent reason, we used one a jake's flat mates who suited the place best and continued to take a few photos of him pretending to be staggering everywhere, as these images were going to be projected behind the twins in tomorrows filming, also Jake and Matt make a few words and phrases up on a slide show that would also appear behind the twins in tomorrows filming. Due to Matt not feeling to well in the morning, he was unable set off from home until lunchtime and arrived at the uni later in the day.

Wednesday 26th March

With another early morning start upon us me and Jake gathered all the equipment together while Matt was finalising the slideshow that was going to be projected today in our film. He then arrived with his car, we loaded up what we could and then let him drive round to the library to our location, while me and Jake walked across with the rest of the equipment that was unable to fit in the car. Then in the little time we had before Matt and Jake had to go and meet the twins actors at the train station we set up our location. I then continued to finish setting up the location while they went to collect the actors. Shortly after they arrived they quickly got changed into their outfits, and then proceeded to film the whole scene in one go using the two tapes i had allowed to run all the way through yesterday, after the twins had read through the script a few times and felt comfortable with what they had to do. Jake was behind one camera that was filming the twins on the right, and Matt was behind the other camera that was filming the twins which was positioned next to Jake in the middle of the room. I was in control of stoping and starting the different words and phrases on the slideshow with the spacebar, on the computer that was projecting these words and phrases onto the wall behind the twins. After filming it all the way through a few times and we were satisfied with what we had, we then continued filming by doing a few close ups shots and mid shots. Then after we were satisfied with all the filming that we had done in our location in the library, we then proceeded to the bench outside of the library to film our end scene. We did a few takes of one of the twins reading the letter and then leaving the bench from different angles and different shots like long shot, close-ups and a POV shot over his shoulder looking at the letter. We then proceeded to my house to film the last scene from our film which is where one of the twins walks through my hallway and out my frontdoor. Now that we had everything filmed we then went to asda to use the cash machine to pay the actors before they returned home.

Kyle Corfield - JMKProductions

Comments

To do this we filmed the scenes first on Tuesday, edited them on Tuesday night through FCP and then played them through a laptop connected to a projector over the actors' performances on Wednesday.

Comments

The names, Sid and Owen
These names were chose to connote a meaning and draw a parrelel with their famous namesakes, to make it easier for the audience to realise what has happened in their life in terms of drug taking up until now. Sid Vicious of the Sex Pistols famously died from an overdose, our Sid was also the one to die from an overdose. Owen Wilson allegedly tried to overdose, however survived and is now continuing with his life and working again.

Clothing
We watched Train Spotting to see how a film representing the same drug dressed its stars. We didn't want to be seen to copy them though and so left the trademark skinny jeans out. Instead we decided to go for a pale green/grey tracksuit bottoms combo for Sid and a small beige jumper/black trousers for Owen. We wanted to make them seem worn and old, as if the two rarely leave their house and aren't at all bothered by their look, having had the same clothes for years. Therefore, we covered them in staines, holes and cigarette ash. Later, when we had Owen sitting in the park waiting for his job interview, we had him trying to look smart. His hair was gelled, he was wearing a shirt, tie and trousers. However, we tried to make it so that, to the audience, they can see that although he's trying to get his life back on track, he's not 100% comfortable in the situation and is still out-of-touch with this way of life. His clothes AREN'T ironed and his shirt and tie don't match, but from this it can be seen that he is trying.

Bed and bottles, plates etc
For this piece we thought about Tracey Emin's "My Bed", and how it displayed her whole life with the scattered rubbish. We however, didn't want to make it the whole focus like Tracey's, we just wanted it to reinforce steretypes around the acting of Keiran (Sid) and Tom (Owen). Therefore we framed the shot in two ways, one where the 2 characters heads fall on the bottom Rule of Thirds, so the bed is further down and there's more space above for the projections and the second, closer in slightly from the side so that it was mid-shots of the characters.

Camera Angles
We filmed from higher up than the actors' eyelines and looked down on them, so that the audience would look down on the actions and life's of the 2. Later, when Owen was trying to get his life back on track by waiting for his job interview, we had the camera at his eyeline, so that the audience would then feel that he was at their level now, just trying to get on with his life and willing to work hard for it.

Lighting
We lit the room so that it was dark and intimate with the 2 brothers. Also so that it looks dark and dingy, as if they have neglected their house, which in turn, with the lack of lighting, would make the shots look grainy, fitting in with the theme of drug taking.

Owen's walk away from the camera
We had Owen walk away from the camera (it was placed at his back and so therefore was pitch black) towards the light of the door so that it would be seen as him leaving the dark of his life behind him.

Owen's Job Interview letter
The letter that Owen looks at is from a local council offering him a job to work in their food sector, so that could be the staff canteen or something like Meals on Wheels. This suggests that the kind of jobs he can go for have been affected by the past, but he's still trying and just wants to get to a sense of normality through working again.

Comments

Tuesday 25th March

Above there are two diagrams showing a birds eye view on how we are planning to light the two scenes in our three minute drama.
The first diagram shows the scene where the twins are sitting on their matress, there will be one industrial light to their right giving some hard light across and on the right side of their faces. There will also be a projector directly infront pointing towards them lighting all up both of the twins, and there is also a few ceiling above them towards their left giving soft light to the left side of their bodies. You can also see the canon xl1 at the bottom of the top diagram in the middle, that shows all you will see when looking through the viewfinder. The light is drawn with red pen displaying which area it is going to affect in that scene.
The second diagram shows another scene where one of the twins is sitting on the matress in a tucked sitting position with the words of his distraught mum running through his head "your tearing this family apart".  Again drawn in red pen to display which area the light is going to affect, there will be one light score from his right side gently covering over his eye area. There will be another light source from his right shining over the top of his chest and the top of his left arm, while a third shall be lower than the other two shining across his elbows and the top half of his legs.
Kyle Corfield - JMKProductions

Hard light has been chose as it's more emotionaly tough, which is perfect for this part of the drama. Natural, soft light will be used for the latter part when Owen is kicking on with his life to get a job, making the scene easier to look at. You could say that we are only using 2 of the 3 Point Lighting Rule. We plan to use key and fill light, but don't want to seperate/cut out the twins' from their impovirished-looking background.
Jake Warren

Comments

INT. FLAT

Sid and Owen are lieing up against a graffiti-wrecked, sheet-covered wall on top of a stained and askew mattress; empty beer cans and belts surround them next to a table with an old TV. Random beams from out-of-sight windows cut into their faces in a severely under-lit room. They have a rough, tatty demeanour with scruffy hair and stubble; wearing ripped jeans, dirty boots and wrecked hoodies. They seem totally at ease with each other and their surroundings, not having to speak to enjoy the company and the moment, shown by their complete relaxation and their sharing of substances. Sid picks up a spoon and starts to light the underside. The tar on top starts to bubble.

MITCH (O.S.):

Expelled.
(beat)
What are you going to do with your lives now eh? Your mum is distraught. I may not be your biological Dad but I've watched you grow up, I've been there for you two and I care for your mother, but this
(beat)
this,
(beat)
is tearing our family apart.

Random words and phrases from this speech (a flashback) appear projected over the over the top of the tar and each of the brothers' faces as they continue to inhale the drug. The euphoria on their faces is clear, these words don't seem to effect them. Sid picks up a can and starts drinking.

DRUG DEALERS (O.S.):

Next time we won't be so lenient, make sure they pay up on time; we don't like to be kept waiting.

Pictures of Mitch coming limping through the door battered and bruised and having to be helped into a chair by a crying mum (another flashback) appear transparently projected over the top of the brothers in a stop-motion style.

INSERT: PICTURES OF A BEATEN MITCH

Undeterred, or without a clue of what is actually happening in their current state, they continue with their binge. Owen picks up a syringe and injects the heroin from the spoon into it, he then tightens a belt around his bicep and pumps his arm, with Sid also doing the same. Owen slides back down the wall until he's flat on the mattress.

INSERT: P.O.V. FOOTAGE

MUM/SANDRA:

I
(beat)
we,
(beat)
we can't do this anymore. You have to leave.
(beat)
Find somewhere else.

This is another flashback that again appears projected over the top of Owen, whilst the sound of a syringe hits the floor (O.S.)

Sid is lieing motionless, Owen looks at him, a glazed over expression adorning his face. He reaches out a hand and pushes him slightly, but recieves no reaction. He tries to get his attention again, yet still nothing. He climbs to his feet and leans over the front of him. Audio of future dialogue are played over the top of the current images.

OWEN (O.S.):

Mum, mum it's me. Sid's dead.

He starts slapping him on the face, and tries to open his eyes.

OWEN (O.S.):

He's, he's gone. Mum can you hear me.

He feels for a pulse and the look of realisation starts to appear, slowly, as he's still being controlled by the drug, he sits against the wall, and puts his hands to his mouth, looking directly forward, not blinking.

MUM/SANDRA (O.S.):

Can you see, can you see what this has done to us, to him.

The body that was next to him slowly disappears, leaving just Owen sitting their, staring forward.

FADE TO: BLACK, MUSIC: MAYBE TOMORROW, STEREOPHONICS

The black screen starts to get lighter, and then fills with a smart blue and white striped shirt, and slowly reveals more and more of a presentable Owen as he walks towards the door, opens it and turns, leaving just the brightness of the outside world, a sunny, clear-sky day.

EXT. PARK BENCH, DAY

Owen is still in his smart attire, but looks nervous and out of his comfort zone. He's twisting a cigarette between his fingers whilst glancing at his watch every few seconds. He's fidgeting excessively, playing with his hands and bouncing his legs up and down. He gives his watch one last look, takes a deep breath and stands up and starts walking down a park path. A Job-Centre comes into view.

FADE TO: BLACK

TITLES

Comments

They represent drugs as safe to use when partying at the weekend and feel you should have the freedom to them if you want to. The main drugs discussed in the film in ecstasy and follows the events of 5 friends looking forward to the weekend of euphoria to paranoia. In one scene there is the main character jip and one of this friends sitting at a desk in a classroom style room with a professor at the front with a blackboard and a skeleton and a long stick. In this scene they discuss the advantages and disadvantages of taking the drug, because you always have to have a balanced debate and look at it from both points of view. They also went into the debate of how more people die from beer than ecstasy but let beer be legal because its a more profitable drug.

In another scene their is a clip showing you what it is like to be on the drug. They took many shots of them partying in the crowd with close ups, so with the power of editing they presented each person individually, and edited the close ups of them in the crowd at the party, so that there was only a white screen behind them, so all the focus of the audience goes on the character and not behind them. They then put voice overs on the clip to tell you what the character is feeling at this present time. Here is a clip of on YouTube i found from the film Human Traffic. http://www.youtube.com/watch?v=fezud1HC-bk
So Human traffic gives a balanced statement on the advantages and disadvantages of drug use.

Another film is trainspotting which was made in 1996 directored by Danny Boyle that takes place in Scotland with a cast of people like Ewan McGregor, Robert Carlyle and Johnny Lee Miller, gives a detailed overview on heroin addiction and how it affects the body physically and mentally.

In this film there is scenes where ranton jack's up then his body falls to the floor when he feels something. It tries to represent in the scene what he is feeling, and by doing this in one scene his body srinks into the floor, it doesn't actually physically do that, but they wanted to represent what he was feeling at the time, so they can properly represent this drug in the film and the effects it has on the body. In another scene there is ranton who is in his room in his bed, and he is getting withdrawal symptons which is a disadvantage of taking the drug, again it is giving a balanced debate like in human traffic. There is a baby that is crawling across his ceiling towards him, agian it actually isnt really there, but because one side effect of this drug is withdrawal and you start to see things, again representing how the can drug affect the body.

Another good film is Requiem for a Dream which was made in 2000 and is a adaptation of the 1978 novel. This concentrates on Valium and how this can affect the body. The film goes into detailed depth of different forms of addiction. The main focus on a drugs film is to educate the audience of drugs what they do and how they affect the body whether it be good or bad. This film gives acurate information on how people can lose themselves to drugs if they aren't incontrol of their own life, eventually slipping away from reality as the days go on. Two other doos films are layer cake and traffic.

Kyle Corfield - JMK Productions

Comments

INT. HOUSE, Kitchen

Mark, standing-up holding a letter in his hand, look across the kitchen at Sid and Owen. His voice cracks as he begins to speak.

MIKE:

Expelled.
(beat)
What are you going to do with your lives now eh? Your Mum is distraught in there

Points to the side.

I may not be your biological Dad but I've watched you grow up, I've been there for you, I care for you two and I care for your Mother, but this,
(beat)
this,
(beat)
is tearing our family apart.

FADE TO:

INT. CAR, night

Mark brakes outside of a murky, dingy looking back alley. He opens his glove compartment and pulls out a brown bag. He grasps something beneath his shirt, tucked into his belt before opening the car door and walking out. He walks up to two men, both wearing black. He hands over the bag sheepishly.

DRUG DEALER 1:

We don't like to be kept waiting,
(beat)
next time, we won't be so lenient, make sure you remind Sid and Owen of that will ya.

FADE TO:

INT. HOUSE, corridor

Sandra opens a door.

INT. HOUSE, bedroom

It reveals empty beer cans and a few syringes. Sitting at the opposite side of the room are the twins. Sandra fights back the tears.

MUM/SANDRA:

I,
(beat)
we,
(beat)
we can't do this anymore. You have to leave, find somewhere else

INT. FLAT

Owen is at a table counting money, empty beer bottles lieing everywhere. He rolls up a set of notes with an elastic band. Sid walks through the door carrying a bag, he walks over and puts it down on the table. Owen picks it up and starts looking inside.

OWEN:

How the fuck is this gunna pay for anything? Now you've lost your job it's not as if we've got enough to help pay for this stuff, it aint cheap ya know.

SID:

'Course I know it's not fucking cheap. But it's not as if I can bring home something decent everyday, I told ya, that kinda stuff comes from house jobs at night.

EXT. PARK, day

Sitting up against the wall, Sid and Owen are both joking around, drinking. Next to them is a speaker playing "Pump It" by the Black Eyes Peas.

INT. FLAT

Owen walks in, he sees Sid lieing motionless on the floor and runs over. He kneels down beside him and starts tapping him.

OWEN:

Sid, Sid. Sid wake up.

He feels for a pulse, his face shows the look of horror. He spins round and knocks everything off the table behind him, punches the wall, kicks over a chair and then falls back into the wall, sliding down until seated, visibly sobbing.

FADE TO: BLACK, MUSIC: MAYBE TOMORROW, STEREOPHONICS

OWEN:

Mum, mum it's me. Sid's dead, he's, he's gone.

EXT. HOUSE

Owen walks down the street and up the path to his parent's house. Before he can get a chance to knock, Sandra opens the door and puts her hand to her mouth to stop the tears, before both fall into each others arms.

INT. HOUSE, KITCHEN

Sitting at a table, Owen scours the newspaper page entitled Jobs. Red rings already adourn a couple of adverts. His mum walks over and sits opposite him.

MUM/SANDRA:

I'm so proud of you ya know. It's been a tough few months for all of us, we all loved Sid dearly, but, out of this tragedy we've gained something beautiful, something I never thought we would see or have again, our son back. You kicking the drugs and making a go of your life is all I can ask for. We'll be here for you all the way. I'm so,
(beat)
so proud of you.

She smiles, before standing up and continueing.

MUM/SANDRA:

Now, want some tea?

Owen, who had stayed quiet throughout, stands up and picks up the paper.

OWEN:

I'm going to drop off my CV's first.
(beat)
thanks

He smiles and walks out of the room.

INT. OFFICE BLOCK

Sitting at his desk, he looks across to a picture of his brother and smiles, then starts working on his computer. Above his desk hangs a plaque saying "Employee of the Month" as he continues typing.

FADE TO:TITLES

Before taking this to the meeting I had already started to edit it, removing everything on from "She smiles" after Sandra's speech until "INT. OFFICE BLOCK". This was based on the fact that it served no purpose and so was a pointless waste of dialogue.

This was my second draft

EXT. PARK, day

Sid and Owen are lieing up against a wall, empty beer cans surrounding them. They seem totally at ease with each other and their surroundings, not having to speak to enjoy the company and the moment, shown by their complete relaxation and their sharing of substances. Sid picks up a spoon and starts to light the underside. The tar on top starts to bubble.

MITCH (o.s.):

Expelled.
(beat)
What are you going to do with your lives now eh? Your mum is distraught. I may not be your biological Dad but I've watched you grow up, I've been there for you two and I care for your mother, but this
(beat)
this,
(beat)
is tearing our family apart.

Random words and phrases from this speech appear on screen over the top of the tar and each of the twins' faces as they continue to inhale the drug. The euphoria on their faces is clear, these words don't seem to effect them. Sid picks up a can and starts drinking.

DRUG DEALERS (o.s.):

Next time we won't be so lenient, make sure they pay up on time, we don't like to be kept waiting.

Pictures of Mitch coming limping through the door battered and bruised and having to be helped into a chair by a crying mum appear transparently over the top of the twins.

INSERT: PICTURES OF A BEATEN MITCH

They continue on and pick up a wooden slab layered with cocaine in a line, Sid turns away from Owen and crouches over slightly, before turning back and passing it to Owen, who gets out a bag from his pocket. Sid is seen struggling to keep his eyes open and head still, before his mum appears before him.

INT. HOUSE, BEDROOM

MUM/SANDRA:

I
(beat)
we,
(beat)
we can't do this anymore. You have to leave.
(beat)
Find somewhere else.

EXT. PARK, DAY

Sid is lieing motionless, Owen looks at him, a glazed over expression adorning his face. He reaches out a hand and pushes him slightly, but recieves no reaction. He tries to get his attention again, yet still nothing. He climbs to his feet and leans over the front of him.

OWEN (o.s.):

Mum, mum it's me. Sid's dead.

He starts slapping him on the face, and starts getting more frantic and desperate.

OWEN (O.S.):

He's, he's gone. Mum can you hear me.

He feels for a pulse and the look of realisation and horror spreads across his face.

OWEN:

No, no.

He spins round and kicks cans everywhere,

PARAMEDIC (o.s.):

Estimated time of death, 16:12.
(beat)
I'm sorry.

Continuing, he punches the wall, picks up the wooden slab and smash it down onto the floor

MUM/SANDRA (o.s.):

Can you see, can you see what this has done to us, to him.

He then falls back into the wall, sliding down until seated, visibly sobbing.

FADE TO: BLACK, MUSIC: MAYBE TOMORROW, STEREOPHONICS

OWEN (O.S.):

It's been a tough year.

EXT. CAR PARK OF A BUILDING

A car park openeing up into then exterior of the front of a building, as a few people get out of their cars.

OWEN (O.S.):

For all of us, but it did hit me hard.

INT. BUILDING, MEETING HALL

The interior looks like a simple AA style meeting, as Owen is standing in front of his chair, people circling off from him in both directions.

OWEN:

We were unseperable, which hurt us, as whenever one tried to stop, we only had to see the other to cave.
(beat)
It was a tragedy that I wish had never got to that stage, but I feel I've got to take what has happened and live my life for the both of us now. I owe him that.

FADE TO:BLACK

CLAPPING (o.s.)

TITLES

We both agreed that this version was a lot stronger, and the start impaticular works well in theory. The problem again was the ending and how cheesy it is. We talked about how this is a problem with this particular premise as Owen "loses something, but gains something as a consequence", his life back, and therefore it will go from despair to a happy ending. We discussed maybe toning this down a bit, so that Owen is shown walking into a job centre after sitting at a park bench for a while, with a cigarette, not particularly looking ecstatic but obviously with a lot more in his life than before.

We also decided on using a dingy den instead of a park for the opening scenes, so that we can project pictures across them in a dark room, to contrast with the lightness of outside later on. These changes will be made tomorrow.

Comments

A story of heroin addicted twins (non-identical). The 3-minute drama focuses on the death of one through an overdose and how the other deals with that, managing to get his life back on track as a consequence. Ability to act without an accent (so as if from, for eg. Surrey) is a must. Script and storyboard available on request.
The reason I've asked for actors with the ability to act without an accent is because we have to make the twins believable and then build on the chemistry between them from there. It will be unbelievable if we claim that they do heroin all the time together if one has a Mancunian accent and the other Geordie. It's also simpler finding people without an accent (I have one already) and therefore easier to pair.

Title: As yet unnamed Twin 1
Description: The twin that dies from an overdose. The relationship between him and his twin will be built up at the start, clearing showing a chemistry together as they laugh, joke around and take drugs together (which will obviously be shown in a way that will not break any laws) before his dead body will be discovered. A vitally important role in the story.
Gender: both
Min Age: 16
Max Age: 22

Title: As yet unnamed Twin 2
Description: Between the age of 16-22. The twin that kicks on with his life as a consequence. Again must be able to get across the joy got from doing the heroin with his brother, but then the sadness at his death and the determination not to let that happen to him and to kick on with his life.
Gender: both
Min Age: 16
Max Age: 22

I felt it was important to get within this age range as it's easier to believe that one of them can kick on with their life, whereas twins in their 40's, who have been heroin-addicted since their teenage years, would struggle to kick on. It's all about trying to make it as believable as possible. Although I've imagined the story playing out in my head as two males, if the stronger acting pedigree's come from two girls, I would cast them in the roles.

I've tried to appeal to actors that want to test themselves by asking for chemistry (which obviously they can't know about until they meet their "twin" but it means we're asking for actors that are instantly at ease with their work mates and can create good atmosphere), ability to demonstrate sadness and the ability to show determination in reaching a goal.

Title: Twins' Mum
Description: Aged 40+. Needed throughout to deliver good acting and be used as an emphasis in the progress of Twin 2.
Gender female
Min Age: 40
Max Age: 60
I've advertised for this role, but am unsure of whether it will be needed or not. Depending on the strength of those applying. I did however choose Mum and not Dad as their's more of a stereotypical emotional attachment between Mum's and their children, one that will be easier to play on if needed.

I'm going to write the script tonight before a group meeting tomorrow where we can ripped it to shreds and re-write. We will then take this to a meeting with tutors on Tuesday, ask for oppinions and with our final copy then produce a story board, before being ready to shoot.

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Last week my car broke down on the way to uni, which then ment i arrived late to uni on monday and made me miss our presentation. Later i found out that i had seized the engine due to the lack of oil in the car. Im blame myself for this as i wasnt looking after my car well enough. Now you are properly wondering how this links in with the gaining of something from losing something. Well my first car ment a lot to me due it being my first car, but it was also costing me a lot of money to keep on the road. When it broke down i finally realised i couldnt have kept it up, as i had more outgoings than i had ingoings. So from me losing me car, i also gained greater knowledge that i couldnt have kept it up. Now i have decided that i am going to stay without my car until my 21st in June. I can now save money and be more fully prepared for when i get my next car, so that i am not struggling for money agian like before.

This links in with the losing something but gaining something aspect in our documentary where wimbledon lose their original club, but instead creating their own club because of the passion the fans showed to their club, and also the drama where one twin brother loses his other brother through heorin, but gains a new lease of life from his brothers death.

Kyle Corfield - JMK Productions

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First i needed to do some research on the drug itself and found some startling information. Heroin called diacetylmorphine by its international nonproprietary name, and diamorphine by its british approved name, is a semi-synthetic opioid (a chemical substance that has a morphine-like action in the body which relieves pain), is synthesized from morphine. It's a derivative of the opium poppy. Opium is a narcotic that is formed from latex, and a opium poppy, is a poppy from which opium and all refined opiates such as papaverine, thebaine, codeine, morphine and noscapine are extracted.

It is made by acetylation(a reaction that makes an acetyl functional group form into an organic compound), making it a prodrug (is a pharmacological substance drug) pharmacological meaning the study of how drugs interact with living organisms to produce a change of function for a systemic delivery of morphine.

If you use this drug to much it can cause addiction and can quickly lead to tolerance; however, if you only have the occasional use of it does not lead to any symptoms of withdrawal. Popular street names for this drug can include black tar, brain junk, horse, gear, skag and a few others.

Many people get addicted to heroin due to the over whemling feeling of the intense euphoria (a emotional state related to happiness) that it induces into the body, so they want to keep feeling this feeling and ignoring the short and long term affects that it has on the body over a pre-longed period of use.

For people who directly inject it into their vains carry the risk of using a non-sterile needle or syring along with and other related equipment, which then leads to the risk of HIV and hepatitis. They also run the risk of contracting bacterial or fungal endocarditis (the inflammation of the inner layer of the heart) which can lead to death, Chronic constipation (a condition of the digestive system), Addiction and an increasing tolerance and withdrawal symptoms.

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I started by explaining what our aim was and how we thought that we had managed it well by showing how the fans lost something good at the start with celebratory pictures of Wimbledon FC and the 2nd part showed the enthusiam towards the club with hand-picked interviewees, the whole documentary being wrapped up at the end by Ivor's one sentance.

Matt then talked about how we set up the room, with the interviewee's not looking directly at the camera, and lighting before I then explained how we edited it to try and create a continuous flowing structure (explained in the blog entry about editing).

The major points that we could try if we did it again was the adition of solely a supporter based interview, as the ones we got are in an official capacity at the club (whilst also being supporters), as well as attempting to use 2 camera's for each interview to get different perspectives we could cut between and finally latter day footage of the crowd, probably singing terrace anthem "I can't help falling in love with you".

We finished by saying that, of those that we had asked (who were unconnected with the course and club), they thought it was a brilliant representation of passion towards the community and club and the fans have clearly got the most from what was an original bad experience.

The feedback we got today was extremely positive, finishing in the top 5 of the course. One point that was raised was that we could have gone on more about the money side of football, however I think that the story we told was a perfect fit for 3 minutes, and trying to cover the issue of money in football would have needed a lot longer to cover. There's no doubt that it is a major talking point in the game, but I don't think that it has much relevance to the losing of something but gaining of something else as a consequence with the WFC/AFCW story unless we covered in more length the move to Milton Keynes and how it was solely money related for the owners.

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Due to working tonight, this was the earliest i could post this.

Today was quite an eventful to day to say the least, my car broke down on the way to uni, which then resulted in me ringing the university to explain why i was runnnig late, because i didnt want to fail or let the group fail. I literally arrived at the door and my group were just walking away from the front of the class having finished doing the presentation. I then let the lecturer know that i had just arrived and then watch the rest of the class's presentations.

Here is some of the things i would of said in front of the class, if i had made ita bit earlier.

We wanted to give our documentary an "au natural" look and feel while filming, so we had one industrial light shining away from the interviewie, so we didnt make them feel uncomfortable in anyway, then lightly reflected the light back onto the interviewie using the white side of the reflectors.

We had the camera placed to the side of the interview, so that they wouldnt get distracted by it, and their full 100 percent attention is on the interviewer, hopefully creating this sense of ease while filming.

We would of liked to have added inside shots of the crowds to get a inside view of the singing and emotion, as it is one of the main themes, that the fans are very important. We would of liked to have taken away the humming sound that came from the air con in the office as well when we were filming.

The only other two people we would of liked to have interviewed was the mascot, to show how important his role is in the club. But due to him being on holiday at the time of us being at the ground we were unable to interview him. The other person we would of added to the documentary was interviewing a fan, to get another point of view across as well.

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On Friday I sat through the footage we had got and split each interviewees answers into seperate seperate blocks according to what I thought would work best. I then started to pair some of them ready for the proper editing, for eg. Erik talking about how all of our fans wear the club strip, and Ivor talking about how the sponsors pay a lot to be on our shirt. After doing this I used the DV deck and DVD player to capture footage from DVD's that we planned to use to break up the interviews. This was harder than expected as there was no audio when trying to capture, it only playedback afterwards, making it quite difficult in spotting when to cut in and out.

Fri 15th and Sat 16th.

We started editing on Matt's Apple Mac and Final Cut Express at around 4 o'clock in the afternoon, continuing through to 1.30 in the morning, where we had got the skeleton done and had started filling it out considerably. We began again at 11.30 and worked through to about 2.30, when we then went to find a projector in the Beacon building to see what it would look like; overall impressed with the final version.

We took so long because we thought about every single frame and shot. We started with 3 black and white pictures with cross-transitions between them that lead into 2 short clips. We made 1 of these desaturated to start off and slowly changed it to full colour, so that the transition from black and white to colour would be a smooth one. We decided not to put any audio with the start leading in to the text on WFC's move because we felt that a soundtrack would only be needed if it wasn't clear what the pictures where conveying. Just before the end of the text on the screen, we overlapped some audio "I think we can well and truley say..." before cutting to the footage accompanying it finishing "AFC Wimbledon is born". This like so many other decisions we made was to ease the transition.

When going straight from one interview to another, we made sure there was a gap with the interviewee not speaking either at the end of the first one, or at the start of the second one, as we found that otherwise it looked unprofessional as ones person speech would merge with another.

The goals we show are a progression through time as AFC Wimbledon, and usually have some significance to the interview before or after. When Erik talks about crowd, 1 of the goals finishes with a pan across a cheering crowd. When Ivor talks about getting to the conference and playing in games of real important, we overlap a bit of his audio with the FA Trophy game away to Gravesend and Northfleet in the FA Trophy last year, with us winning 2-0 against a team from the Conference, 2 leagues higher than us.

Since we're creating a feel good piece that shows that the fans having got something wonderful, we included brilliant goals as we thought it would enthral the audience more (of which, being in the Midlands, we assumed a lot of football fans would be used to higher quality football with Aston Villa, Birmingham, Walsall). We edited them in the same style as Soccer AM when they say "Later the goals from the Championship" with quick goals one after the other, as this is a extremely popular show that people may make the connection with and so enjoy.

We used the song at the end, by Fat Man Scoop, as we felt that it would stick in peoples heads as it is incredibly catchy, so if people sing the "AFC Wimbledon" part they will remember our documentary.

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This test shoot was useful as it gave us a little practice editing a documentary which is very different to editing a drama.

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After doing that we then set off on the trip down to Kingston-upon-Thames and Kingsmeadow stadium. This took us around 3 1/2 hours, getting there about 13:30. Erik wasn't yet there and so we were allowed around the stadium to film. We then met Erik, who let us into his office to set up, and then conducted the interview with him. He then went to get Terry Brown and we stayed in the office to interview him. After conducting that interview we went into the President's lounge and waited for our final interview. Whilst waiting we went and took some more footage of the trophy cabinet etc. The final interview was conducted back in the President's lounge, where we set up in a similar style to the other two, except that the camera took my previous interviewing position on the left and I sat down opposite Ivor in the middle where the camera was before.

We got back at 22:50. The next day, along with lectures, we started uploading the footage; test shoot, actual shoot and audio, and started seperating it to make the actual edit easier. I also sent off emails trying to gain some more footage.

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Hi my name is kyle corfield and i am also a member of the jmkproductions group filming a documentary on Wimbledon FC. Now before this idea was pitched i knew who wimbledon were, but didnt know where they had dissapeared to after 2003. Me being a Manchester United fan wimbledon had many classic games with them in the premiership. But at the end of 2003 they just dissapeared from the tables, so i thought this would be a great way of looking into the history of wimbledon, how they were formed and what happened to them after 2003.

It all started in 1889 when they first named themselves Wimbledon Old Centrals FC after their old central school on wimbledon common. But then in 1905 they then changed it to wimbledon FC. Wimbledon FC continued to play their early games on Wimbledon Common and at various other locations until 1912, which they then moved to Plough Lane, which would be their home for the next 79 years. Wimbledon then decided that their cramped stadium at Plough Lane was just too small for the ever growing fans, so then Wimbledon began to ground-share with local rivals Crystal Palace, which actually ended up lasting 12 years.

Wimbledon then spent most of its history in the non-leagues before a rapid ascent to the top of English football in the late 1970s and early 1980s, which included them defeating the then-champions liverpool 1-0 in the FA cup final in 1988. Wimbledon then became the only football club in the country to have won both the professional and amateur versions of the Cup, having won the FA Amateur Cup back in 1963. Wimbledon spent most of their time in the old First Division but then were promoted to the Premiership in 1986.

Wimbledon had a good spell in the premiership, but then on the last day of the 1999-2000 season, Wimbledon lost to Southampton whilst their nearest league rivals Bradford achieved a surprise win over Liverpool, meaning that the club were finally relegated after 14 years of being in the premiership. The club then in the season of 2001–2002 narrowly missed out on the promotion playoffs and also in the following season.

Then in 2003, wimbledon fc relocated sixty miles north to Milton Keynes. The club was then relaunched the following year with new kit and a new badge. They were then called Milton Keynes Dons. They agreed in 2007 that they were not a continuation of Wimbledon FC and returned all artefacts prior to 2004 to the London Borough of Merton.

Supporters of Wimbledon F.C. were outraged and responded to the move by forming a new club, A.F.C. Wimbledon, which they see as the direct continuation of the sporting representation of the people of Wimbledon.

Now i feel i have touched on the history of Wimbledon FC, and found out that they relocated and relaunched as a new club after 2003. I will do more research into history of wimbledon because i feel there is still alot to learn.

Kyle Corfield - JMKproductions

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And then to NUTS TV, who are producing a documentary series on the club themselves.

Hi, I'm studying Film Production at Staffordshire University and recently won a pitch to lecturers and class to produce a 3-minute documentary on AFC Wimbledon. It's mainly interviews with a couple of fans, Erik, Terry Brown etc; however I need some footage of the crowd, pitch action to fill bits in between. I was unable to film at the Torquay game and so I was wondering if you would be able send some of the footage you caught (even if it's just the crowd). It's not for profit at all and is just a uni moduler assingment, and I would stick whatever you wanted in, such as "Courtesy of NUTS TV" or something like that.

I also obtained a song by Fatman Scoop, "Get Your Hands Up", which is an upbeat song remixed to include AFC Wimbledon. It's perfect to accompany any footage of AFC Wimbledon players scoring goals and the fans going crazy.

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Hello, Jake,

As for anyone else, If you are around at about 7.00 pm Ivor might be here – but he is very busy and finds it hard to commit to specific times.

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Hi Erik, that's great, we can do Thursday 7th thanks. Do you know if anyone else would be able to have a quick interview (I'll supply the questions in advance) on that day as well? It's just that Dean, who said he would, will be on holiday that week.

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OK, thanks, Jake, that’s much clearer. Let’s go ahead.

Erik

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Youtube Video

It stands at 4 minutes 9 seconds and so is 1 minute 9 longer than what we can produce, but then touches on Milton Keynes a lot more. There will also be no studio or any of us in front of the camera.

It uses the same kind of techniques that I had mentioned in the email to Erik in displaying the move to Milton Keynes, I had mentioned a fading to black from celebratory Wimbledon pictures whilst the BBC use a grey scale on the MK image and slow morbid music.

The use of music is something that we haven't yet looked on but if done well, can obviously aid the point that the director is trying to put across. This is prooved further when the documentary then uses Ride With Me by The Vines when the AFC Wimbledon fans first come into shot, and carries on playing as the camera tracks down the massive quee, emphasizing how the fans are all together. It also provides a marked change in tempo/pace to fit with a clear change of focus.

The piece has also helped us decide how to cut between interviewees. It's edited so that sometimes one interview will lead straight into another, and then at other times cuts to action of the crowd or of a game. This is something that we will look to replicate so to make sure interest is kept at all times. A continuous flow that helps one shot move onto the other will also be needed (moving from one whole interview straight to the other would make it quite hard to watch, so by moving from one answer by the chairman, to one by the manager, to footage, back to the chairman would see a smoother transition and more interest).

It also raises the point of using a soundbridge to connect what one interviewee says to proof of shots around the ground. So, for e.g. when Terry Brown replies to does the support make a difference to the players, the shot will start on him but then cut to that of the crowd altogether singing on the terraces.

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I want to keep the same colour schemes to show the progression through time. Each picture will fade into the other andand will only last for about a second each.

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"In the summer of 2002, an FA Commission granted permission for a group of businessmen to relocate Wimbledon FC Ltd to Milton Keynes, 70 miles from its history, home and community. Initially devastated at the loss of their club, within a matter of weeks the supporters took a fresh approach by creating their own team.

Backed by the Wimbledon Independent Supporters Association (WISA) and the Dons Trust, AFC Wimbledon was born. Just six weeks later, having obtained a ground, senior status and many hundreds of season ticket applications, the Dons played their first friendly on Wednesday 10th July against Sutton United at Gander Green Lane, in front of a staggering crowd of over 4,500.

By then the Dons had already been elected into the Combined Counties League and had appointed former Dons full-back Terry Eames as manager. The opening day of the season saw the CCL's attendance record smashed as 2,449 people squeezed into Sandhurst Town's Bottom Meadow ground to see the Dons celebrate their first competitive game with a 2-1 win thanks to goals by Kevin Cooper and Keith Ward. Days later, the "house full" signs were hung out at Kingsmeadow, but the first home game ended in disappointment for the bumper crowd as Chipstead won 2-1.

It was early inconsistency as the new squad settled which ultimately cost the Dons promotion in that inaugural season as, despite an impressive late unbeaten run, they ended up finishing third behind eventual champions Withdean 2000 and AFC Wallingford, amassing a total of 111 points.

But 2003-04 was a different story. It wasn�t until January that the Dons dropped any league points, by which stage they were already well clear of AFC Wallingford and odds-on for promotion and the Combined Counties League title.

By the end of the season, the biggest question was whether the players would manage to go through the entire season unbeaten. The answer was an emphatic yes as they finished with 42 games won and just four drawn, chalking up a record 130 points and a staggering goal difference of +148.

And, to complete a fantastic Combined Counties League double, the Dons also lifted the Premier Challenge Cup, coming from behind to beat North Greenford United 4-1 at a packed Woking stadium.

The summer of 2004 saw the Dons back in the Isthmian League for the first time since 1964. If the future holds half as much adventure as those 40 years of absence did, the Dons could be all set for another amazing journey."

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My first email
Hi, my name's Jake Warren and I'm a season ticket holder and big supporter. I'm studying Film Production at Staffordshire Uni and today pitched my idea to lecturers and peers for a documentary on AFC Wimbledon, stating that although we still feel resentment for the MK move, we've gained something brilliant from what is a travesty and more importantly own our club again. The pitch won by about 80 votes to 5 and so I was wondering if I would be able to come down to Kingsmeadow and interview Erik, Ivor, Marcus Gayle and maybe a few others on the club? It will be relaxed and just them sitting in front of a camera, and should even help to spread the message to football fans that aren't too sure of it up here.

His reply
Hello, Jake, We will be glad to try to help but I see some practical difficulties, as I
am the only one who is at the club full time. The players only train two
nights a week (one, if there is a game on a Tuesday) so I struggle to see
how you could get it done in one evening. Or maybe you think it might take
longer?
Anyway, if you set out your ideas for timing we will see how we can
accommodate them.

My next email
Hi Erik, thanks for the quick reply. At the moment I'm trying to get an idea with timing myself as one of my group members is on holiday, and so I'm trying to find out when he's back at uni (he's back tonight). We've got until about the 12th Feb at the latest to film with a week then to edit, although I would rather not leave it until the last minute in case we encounter any problems. We've got to produce it to 3 minutes exactly, so we only need a few people as I also plan to use a few clips at the start like Sanchez and Beasant in 88 and crowd shots from our games later on. Is Terry Brown in the office on week days along with you? That would give me 3 different perspectives that I think would work well if possible and there was no problems (as Dean Parsons has also said that he would be interviewed) of the chairman, well-respected manager who has dropped down the leagues to take charge of us and mascot. I would like to try it one day next week (week nights are harder as we then have to get back up to Stafford) but it obviously depends on when the group member coming back from holiday can do, which I will email you about as soon as I find out, and what you or Terry Brown could do, as I'll make sure I fit it around you as I don't want to disrupt our season.

His reply
Hello, Jake.
I'm not sure that Terry can give you much of a perspective on 'the MK thing' but he is always affable and willing to talk. More importantly, I have grave doubts about whether you can cover such a complex subject in three minutes including shots of players, goals and fans. In fact I'm convinced you can't do so without it being very superficial. You originally said you wanted to do "........ a documentary on AFC Wimbledon, stating that although we still feel resentment for the MK move, we've gained something brilliant from what is a travesty and more importantly own our club again." This and your subsequent suggestion that you interview several people isn't consistent with a three minute piece – now it is three people. I am willing to help but I need to be convinced that this is better planned than it seems at present, before I commit to a meeting. I’m sorry, I don't mean to be rude but I work 60 hour weeks here and my personal time is precious to me.

My third reply
Hi Erik, the time period we have been given is solely 3 minutes, if we had longer to produce the piece then I would indeed make it longer. Maybe I didn't really explain it as well as I could have done. The time constraints mean I'm not really touching on the MK thing at all, the documentary is pretty much solely a feel-good piece about the club and how we've gained something brilliant. I see it being set out like this at the moment:
Start with a montage of famous old Wimbledon FC clips; 1963, 1988, Premiership years etc lasting about 10 seconds.
Fade into a black screen with the opening paragraph of "The story of AFC Wimbledon", or words to that affect which briefly says how we lost that club but have gained this one. Behind that the shot of the crowd at Woking will appear with the audible crowd noise and singing of AFC Wimbledon. That will take another 5-10 seconds.
Then the interviews, I originally said "you, Ivor and Marcus and maybe a few others" as I didn't want to put all my eggs in one basket at such an early stage in case any of the first 3 interviews couldn't be used, that and I would also then be able to edit them anyway. I changed it to you, Terry and Dean in the next email as I've since worked on what exactly I want in terms of interviews; since the piece is essentially what a great club we have, I wanted you talking about our season ticket/shirt sales, what it means to you overseeing the likes of Darlington and Gayle's return and the offer of the friendly at Wembley. I thought I could interview Terry on why exactly he wanted to come down to this club from effectively the Conference, how the club is viewed within the non-league game and if our support makes a difference to our players. I want to ask Dean why it meant so much to him in becoming Haydon and how the club compares to WFC to him. These are all questions in which I pretty much know the answer to myself and they're only really geared to get one kind of positive response, but that is all that's needed for the documentary. All the answers may not be able to fit into the time slot, but they should all produce a quality response and so it won't matter as I will have enough to choose between, I won't be limited in anyway and will have interesting topics from all 3 of you that can fill 2 minutes 30 seconds but not feel rushed at all. The interviews should take no more than 5 minutes each of your time, but if you and Terry can't afford this or don't want too, that's no problem. I would still please ask if it we would be able to come down to KM to interview some other fans though if we organised them on a non-match day, and maybe allow Dean to wear the lower half of his Haydon outfit whilst sitting for the interview? I will finish with mass player and fan celebrations from the Gravesend, Aldershot or if it works out that way, Torquay game, before having the credits. This should be around 15 seconds. Hope that provides you with more detail and shows that I do have a very clear idea of how I want this to run and that what I want to film/show fits perfectly with the time we must stick too.

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I also emailed a friend who is the Womble mascot and he said that he would be fine in getting interviewed.

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The group gained a new group member at the start of the pitching session after someone left us to join another group. The group is now made up of Jake Warren, Matt Longman (who is on holiday and so didn't pitch)and Kyle (last name unknown).

I (Jake) pitched a documentary based on the moving of Wimbledon FC to Milton Keynes and the subsequent formation of AFC Wimbledon by the fans, so how some clouds can have a silver lining. This lead to an extreme version of that for the drama on heroin addicted twins; one dies from an overdose and so the other gains a new lease of life from the tragedy.

Kyle pitched an idea based around haemotoligy.

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