Category Archives: FMP – 302

The Screening


Originally the plan was to just put some money behind a bar as a thank you for all the crew and actors. The general consensus was Hukaz just down the rd from me, not too big, good atmosphere etc…And then people started asking me when am I premiering it so it seemed like a good Idea just to show it there, it has a projector and sound system, why not.


So far theres £80 behind the bar and we have music from Lestaz finest Denzel & VZA. Should be fun.


Final Cut Pro X Learnings

Screen Shot 2013-05-01 at 05.28.22 (2)

I made it clear I wanted to use new software this project and I have with CeltX, Apples Compressor software, Adapter which is another video converter/compressor, Memory Clean (every 40 mins); but Instead of using Premiere Pro, which is something I would have liked to have dabbled with, I furthered my knowledge deeper into FCPX. Theres alot of haters but I’m a fan and it works for me.

A few new practices have been picked up this time round. Every time I do a project I seem to be getting better and better, which is just fantastic.

Screen Shot 2013-04-30 at 17.09.56 (2)


Making compound clips isn’t new to me, but this time round its been used a lot more to get video and audio channels re-joined, making the screen creating less channels ti be used, keeping the working space tidier and more efficient, such as keeping audio and video synced up as its a real pain in the butt when they become separated or moved in any shape or form.

Screen Shot 2013-04-30 at 17.07.11


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The above two images show how the files were organised by colour coding, going through the rainbow in rough chronological order. This is then corresponding when importing into FCPX, therefore theres no extra, un-necessary importing, as the process effectively is duplicating all your data, something I realised after the last cloud computing video.



For security, and the first time, I worked the project from an external HDD, the one you see above in its throne like docking station. Yes its amazing, yes you should get one for yourself @ about £12. All the original raw footage was also backed up on this, just in case. Currently the raw video and audio sits at 136 gb. Transferring and management has been painful, but approached and deployed successfully.

My poor not too old iMac is really starting to age 😦 A late Dual Core 3.06 ghz 2010 model, with upgraded 14 gb ram is now packing not much of a punch. To combat constant freezing, general twitchiness and slow response I have had to restart FCPX every 40 mins, the actual computer every 2 hours. The Ram Cleaner app has also been a huge help, thats been ran every 30 minutes. On top of all this I also put my fans manually on full blast as things were getting very hot, very quickly (see below). With all this tweaking and cufuful the iMac managed to stay at just before the critical tipping point most the time. I need a studio upgrade, a PC type upgrade.

Screen Shot 2013-05-01 at 05.28.22

Who did what exactly?

Who Done It


Obviously there was some help involved. Main members of the team were myself on top, with Sam Hudson and James Pilgrim as my right & left hand men; Paisley Boyd also deserves a mention as Director of Photography. The rest of the crew were obviously a great help, everyone was amazing for putting up with me and working for free, however, the project would taken a different turn if they had not been involved.


It has come to my attention that I am currently getting to deep into what should be my evaluation. Instead of clutching at hairs, or ‘blogging the dead donkey’ as our house refers too it, I’m not going to kid myself with more posts. What’s done is done, I’m proud of what I’ve done and there’s no need to fill the ‘possible’ gaps.

Critical feedback



I wasn’t too happy with the feedback I got back, not that it was bad, it just wasn’t too useful. I had written on a document and let people know that I wanted feedback on the contents not the production, as final sound work, colour correction and final editorial nudges were to be completed for final hand in, as that’s when it could be done by people who know how.

The feedback I was looking for was what I could cut, and I did get some that by the afternoon session. All written feedback was either something to do with the sound or colour correction. The rest was opinion.

As I didn’t have a completely finished project, I am to blame also, I left the gap for people to point out the errors, however its the belief that it is the best that my myself could do in time for that crit.

The feedback gained in the afternoon was constructive and I have since had separate input and thoughts from other key members of the project.


How We Do


I haven’t been producing as many blog posts this project but that doesn’t mean I haven’t been working as much as previous productions. On the contrary. Roughly 7,500 words over about 20 documents have kept myself and other team members on track.

All of these documents will be on my submission disk, but I will give a little run down on what they are and why they were useful. After the name is the word count and then description…


Final Critique – 76 – Made to inform people critiquing my work, including a script and general information about how I got to that edit.

Credits info – 139 – A document produced to give to Greg in graphics so he could get on with designing the credits etc.

Shot List – 2536 – An important document I put together with James listing shot after shot, exactly how we were going to tackle each scene. Missing scenes were done by James.

Filming schedule – 161 – Also a very important document that was heavily shared and edited.

Actors List – 273 – This took quite a while to put together, pity that so many people on this list were a massive waste of time; not due to acting efforts, more time wasting.

Crew List – 368 – Also took some time to get together, but a hugely constructive document that was essential to production.

Equipment List – 131 – Made so that we could work out exactly what we needed and when. This document kept Matt Burton happy.

$Monies$ – 38 – A half arsed effort from myself to try and keep track of costs, I kept some receipts but not all.

Character Sheet – 551 – This was made later on as a clear representation of the 4 main characters. A key part of the script making process.

Scene Details – 162 – Explaining technically what happens each i.e. length

Locations – 100 – Detailing locations in each scene, so we could work out what was happening & where.

Plot – 447 – This is what Sam and put together after forming the characters. It was a good way to get our story down and work with arch.

Initial Storyboard Plan – 185 – A document made For Hannah McCaan in Vis Com to give her a good view and idea of what I wanted from her.

Plot Thicker – 622 – Something started, but seemed to be not so important as getting on with the actual script.

Character List – 45 – So that Sam and Could work out who was doing what, what actors we needed.

Character sheet Original – 1631 – This was a very important document that the whole project started in. Ideas and concepts were conceived here.

Plus a few other specific documents such as questions to ask tutors and advice ‘to-do’s’ from tutors.




When I was in a rush, which was most of time I just forgot about how much things cost, and a third of the time, receipts. I now know to get help with this one in the future. If it was one of my only jobs I could have done it fine, but on top of everything, no way. Overall it cost about £350-£400.  Roughly £500 once I’ve put some money behind the bar for the screening.

That’s how much I had planned it would cost, and it did, so in that respects; I’m happy. With a budget of any more I would have had to kept way better track. The budget we had whilst filming was sufficient and I’m also happy that we didn’t do anything too frivolous with it.

Clould Style

After my dissertation and last educational video on cloud computing stuff it only seemed right to keep going in that fashion.Right now, logically there doesn’t seem to be any other way.

For word documents, G docs is pretty seamless. Below is an image of how my drive looks, there is more HE stuff, but I couldn’t fit t all in to one screen shot.

My Drive - Google Drive

All the above documents were finished to a good standard, where I was happy enough to go into production anyway. I didn’t want to wing any of it. There was a plan for each shoot. Everybody should have had some knowledge of what to do and when with all the information made above.

Being able to share certain documents with certain people was highly constructive. Depending on what crew member or actor was doing they would added to certain documents. For example, the actors and crew list was available to myself and Sam Hudson, as it contained quite sensitiveness information like telephone numbers and other personal information like age, that people may not want broadcast over the web.

An issue I did find out quite late into pre-production is that not everyone I was adding to the documents could actually open them. No one told me about it for a good couple of weeks, which I found frustrating, but all part of the process. I’ll learn not to do it next time, make sure everyone has  Why doesn’t everyone have a Google account? Hate to say it but it does improve your life.


This time round using Celtx instead of Adobe story was an interesting venture. The interface is more user friendly, generally sharper and easier to produce professional looking documents, how the free version of Celtx lacks cloud sharing capabilities. Adobe Story has it for free making it very simple to share and work on scripts simultaneously. This project making PDF’s of the script and then having to copy and past new dialogue in was a hassle that could have been avoided by using Story. Lesson learnt though.


I also set up a mega account, that give’s you 50gb online storage for free. I shared the login deets with all the crew and actors. In there was recommended viewing that people could download, later we used the space to share, swap, audio and video. James (cinematographer) could grab footage and tamper with it then replace it. He could also review footage getting rid of anything unusable. We could do this simultaneously which was advantageous.

Final Calendar

Leeds College of Art - Calendar Leeds College of Art - Calendar (1)

There wont be many more additions to this, no serious ones anyway. As planned this is actually how and when things happened and it worked pretty well. Its not much of a ghant chart but my main roles were tackled once at a time, other parts of production were tackled simultaneously by other members of the team. I have tried to streamline all the parts of production and bits have been overlapping in a positive way.

It was only a week into April that I had enough people (Actors and crew) confirmed to happily give the go ahead with filming. Parts of production have been very touch and go, which has been down to crew and actors availability. Having people work for free has been tough this project.


Capturing and holding Viewer attention

I found this on the Cyber College web site ( 

This is info, in the most part, I already know, Ive never seen it as educational/informational literature so its good to know my ideologies match up with actual fact.

I have highlighted specific bits that shout at me.

It would be difficult to think of any business that’s more competitive than TV broadcasting. The average viewer in the United States has dozens of TV channels from which to choose.

Each year, the TV industry spends millions of dollars trying to make successful new TV shows. And each year most of these attempts don’t even make it to air (broadcast).

First, Get Their Attention!

>>The success of a TV show (and, therefore, your own professional success) will depend in large measure on your ability to effectively capture and hold an audience.

And, once you do, you’d better have something interesting to communicate or they’ll quickly go elsewhere — either tuning to another channel or just mentally tuning you out.

“But,” you say, “I don’t want to worry about all that; I just want to make TV shows that interest me.”

That’s great, but who’s going to pay for them?

Reality 101

>>Let’s take a quick look at our Reality 101 course notes.

TV productions cost a lot of money, especially today. To cite just one example, in 1966 the budget for each full episode of Star Trek was $100,000. In 2003, each episode ofEnterprise, which is similar in form, cost about $100,000 per minute to produce. Today, the cost would be much higher.

Before people put up that kind of money, they have to believe there will be some kind ofreturn on their investment.

Depending on the type of production, that return may be to communicate a corporate message effectively, to get viewers to understand a series of concepts or, in the case of commercial television, to generate profits by selling products.

Hit the Target (Audience)

>>As we’ve noted, we use the term target audience to indicate the specific segment target audienceof a potential audience we’re “aiming at.”

Regardless of the type of production, you must start with a clear understanding of the needs and interests of your specific target audience.

Advertisers spend millions of dollars determining these things.

Depending on the products they want to sell, advertisers will have certain ▲demographic preferences.

For designer jeans, for example, the target audience would be fairly affluent teenagers. The same advertisers wouldn’t be interested in sponsoring reruns of Murder, She Wrote, which appeals primarily to an older audience.

By the way, the principles of determining the needs and interests of your target audience also apply to something as simple as producing a video for your class. If only an instructor will be evaluating your video, you’ll probably take a different approach than if it’s intended for a graduation party. In either case, meeting the needs of your target audience is the key to success.

Let’s look at just a few of the issues involved.

Using Audience-Engaging Techniques

>>Audiences primarily react emotionally to program content.

Although people may want to believe they’re being completely logical in evaluating a program, their underlying emotional reaction most influences their evaluation. Even a logical, educational presentation evokes — for better or worse — an emotional response.

This is a key concept, which Benjamin Franklin (a noted persuader) put this way:

" If you would persuade, you must appeal to interest rather than intellect."

-Benjamin Franklin

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emotional content >> What types of production content are most apt to engage our interest and affect us emotionally?

First, we have an interest in other people, especially in “experiencing the experiences” of other people.

We’re interested in people who lead interesting (romantic, dangerous, wretched, or engrossingly spiritual) lives.

Part of this involves gaining new insights and being exposed to new points of view. This includes learning new things.

>>Here’s something else to keep in mind.

Viewers like content that reinforces their existing attitudes and, right or wrong, they tend to react against ideas that run contrary to their beliefs.

Production people, therefore, must be careful in presenting ideas that blatantly challenge widely held beliefs.

The trick is to know how far you can go without alienating an audience.

To cite a rather extreme example, a number of years ago an East Coast TV station did an exposé on a local police chief. An undercover reporter (one of my former students, in fact) put a camera in a lunch box and filmed the police chief clearly taking a bribe.

When the segment was broadcast, there was negative reaction — against the TV station.

It seems the police chief was popular with many influential people in the community and having the truth presented in this way challenged their commitment to this individual. This reaction on the part of many viewers was justified by cries of entrapment, a liberal media bias against a law-and-order official, etc.

This wasn’t the first time a messenger was blamed for the message.

The same negative anti-media reaction took place when former U.S. President Richard Nixon was forced to resign from office for engaging in illegal activities while in the White House. To see how this came about, rent the Academy Award winning feature-length film, All the President’s Men. The film represents an important piece of U.S. history presented in a dramatic and even exciting way. It also illustrates how two tenacious reporters faced down major high-level opposition to expose wrongdoing.

Eventually, this U.S. president had to resign. The reporters involved kept the identity of “Deep Throat,” the inside informer involved, secret for several decades.

" If a democracy is to be successful, the news media have asocial responsibility to bring truth to light — even though that truth may be unpopular."

>>Audiences also like to hear about things that are new and that generate excitement.story content

This is why mystery, sex, fear, violence, and horror do so well at the box office.

It also explains why we see so many car chases, explosions, and general instances of mayhem in our films and TV programs.

Such things stir our adrenaline and involve us emotionally. In short, they hold our attention.

>>This, of course, brings up the possibility of exploitation, presenting things that appeal to elements of human nature that — how shall we say this — aren’t the most positive.

Sometimes a rather blurry line exists between honestly presenting ideas and stories, and unduly emphasizing elements such as sex and violence just for the sake of grabbing and holding an audience.

Beyond a certain point, audiences will sense they’re being exploited and manipulated, and resent it.

And, keep in mind, the content of a production, good or bad, tends to rub off on the reputations of those who produce it — and even on the sponsors who support it.

With this general background on programming elements that appeal to audiences, we’ll next turn to the production sequence.


Target Audience


When you type in target audience into Google, it comes up with info on products from businesses, and then goes into commercials when you look further into target audiences for television and film.

The basics are that a Target Audience is the intended buyers of a particular product that the advertisement strives to reach.

A good 99.9999999999…9% of the products that see a wide commercial release have one primary function: to make money. But they are not released blindly without knowledge of who might buy it. Even as the product is still in the conceptual phase, the marketing division researches who might buy it and how best to reach them. This is split up into Demographics.

To give an example of something built with this in mind, the Target Audience of Hannah Montana is 8-12 year old girls. Towards that end, they created a relatable protagonist, put her in a setting that mirrors everyday life, and offered an escapist fantasy of being an average kid at day, pop idol at night. They reached their target audience through advertisements in magazines and websites popular amongst young girls, branding items they are likely to buy, and running TV ads for both the show and its merchandising during other programs popular with them across the Disney-owned channels. Disney has an extensive SOP for rolling out new tween stars, which includes a mandatory appearance on an established show to introduce the new character to the audience. Various shows in the 80s managed to make profit off the idea that if kids watch a show and like it, they’re more likely to buy its merchandise.

A product having a Target Audience does not automatically mean it is Pandering to the Base, though. You know that artsy film that has all the critics speechless? It, too, has a Target Audience. Maybe the True Art audience isn’t very big, but it was targeted, nonetheless. To that end, even the rare few products that weren’t made with a specific audience in mind will have to target one to be a viable commercial release.

One thing is certain, though: if it’s advertised, it has a Target Audience.



Keeping the camera steady

There isn’t many times Gizmondo come up with work specific stuff, and I hate to say it but this pretty ‘cool’.

From what Mike and Matt have told me there is a need for Steady Cam operators. Something I should be looking into.

The product is called MōVI, created by Freefly, longtime maker of crazy camera-drone equipment and stabilisers. LaForet is presenting a short film and behind-the-scenes video to illustrate its abilities, which consists of a completely custom-made gimbal and 3-axis gyroscope that digitally stabilises the camera (a Canon 1DC in this case). It looks to be very light and portable, a far cry from giant metal arms, vests, and weights that almost the entire camera support world is based on.

Final Storyboards

storyboards01 storyboards02 storyboards03 storyboards04 storyboards05 storyboards07 storyboards10 storyboards11 storyboards12 storyboards13 storyboards14 storyboards15 storyboards16 storyboards17 storyboards18 storyboards19 storyboards20


The final storyboards above are by Beata ‘Betty’ Czaplinska, and they are truly awesome. Having the storyboards is advantageous as they they let myself and others experiment with changes in the storyline to evoke more intrest. to visualize whats actually going on. A great filling between script and moving image.

What Betty has produced for us, has given us a clear view of what we are dealing with, and how to progress. Thank you.



For the first scene, and exterior halls shots, we wanted to use this halls at Royal Park. It would have been perfect as its off the road, local and not too big in comparison to other halls. However I asked for permission and was declined. For what reason I don’t know, but they said to not even try as they are going to send out security on the days I asked to film. What bast*rds. I plan to call and find out why not. **UPDATE** check below..

No filmy bill.clay

From the gist of this email it seemed like they really didn’t want us there. I asked why?…

no filmy 2 bill.clay

Great, thanks pal. I sent him another emailing asking about the specifics, to which he didn’t reply. I think that he may have thought that we were trying to get away with filming the halls interior too. What ever the reasoning was, Im not a fan.

Next time Ill give them details that are only necessary to that particular location. Giving them the whole script is probably a bit too mind blowing and leads to opinion that can come back and bite.


The above photo is just outside the halls pictured above. This is where the boys will sit (infront of the posters), and where the bags gett nicked etc. I plan to park my car and Marks car where those cars currently are so we have the space to film on Sunday afternoon.




I have permission from the owners to use this empty house above. It is perfect for the house viewing, plus very local.

Below are images taken at the Plaza, halls on the outskirts of town. Its reasonable for interior halls shots but the comunal areas, like most, are really small. Theres some more pictures in there for the student v

IMG_6158 IMG_6150 IMG_6142 IMG_6146 IMG_6147 IMG_6149

Because Jazz’z halls were a tad too small she suggested that we try out her ex-boyfriends place, the Joseph Stone’s halls next to the BBC building.


The outside was not applicable for the external halls shots but it seemed the interior was probably one of the biggest I was going to find. Pictures of the interior were taken but seem to have been lost in-between the task of emptying cards after filming. James and I felt that it would probably the biggest, therefore the best to shoot. The main area we plan to film in looks exactly the same as the kitchen above…only a bit bigger.

After being let don by the Royal Park manager, James and I went looking for a few other places. It was our prerogative to find  somewhere we weren’t going to attract any attention, preferably somewhere we didn’t need any permission.

IMG_1188 IMG_1189 IMG_1198

The 3 pictures above show a couple of promising possibilities but we thought that, as they weren’t directly student accommodation we could would most likely come up against some sort of bureaucracy, or un-friendly people/trolls. After James and I found the above we drove a little further up towards the back of the stadium. There was  dirt road and I thought we should have a butchers…



At the end of the dirt track was this beauty. Out the way, the right size, parking, good street lighting; no one would care that we were there (*update* it was perfect).

IMG_1178 IMG_1179 IMG_1185

Above is the final scene location, Samantha’s house, which is actually Sonia. the script supervisors drum. The out side is also suitable for the final chase.

Below is the Housing office that we are using for the housing office scene. Very close to my house and they are my actual landlords, which was an advantage in getting the empty house for the house viewing scene.


After un-successful applications for filming permissions it was agreed that we should go “Guerilla”.

Current actors list

Tom – Simon Donohue

Some stuff with him above, Simon is a good friend of mine from Sheffield, sort of related. He’s studied method acting at The Brian Timoney Actors Studio and with Lorrie and Dianne Hull in Santa Monica, LA. Before studying the method I was a member at The Young Persons Theatre Company. he started when he was 20 and is now 26, a2 weeks younger than myself.


Toms Mum – Carlene Reed (above)

Has actually played Simons mother before in a short. Also based in sheffield, Carlene is experienced in roleplay, forum theatre, improvisation, musical theatre, choral singing (10 years as 1st soprano with Sheffield Philharmonic Chorus), cabaret, jazz and folk singing.


Jules – Mark Stanley, a friend of mine who lives in Leed, but also from Sheffield (just like the actors above). He’s not a really an actor, but I’ve pretty much written the character around him.  He’s outgoing and think will do well infront of the camera’s, all he has to do is be a bit more of a tw*t than he already is.

Hugo – ? hopefully  not myself

Alistair – Sams (AD) manager from his stageshow Porters, (get his name and contact).


Kid 1 (bin kid) – Mohamed. I was having difficulties with getting an under 18’s ad up, due to the fact the that under 18’s HAVE TO BE PAID…??? Anyway, fed up with the internet I just went down Brudenell. Theres loads of Asian’s who have shops down there and usually all the ‘youngers’ are just hanging around. I asked one of my mates who works in the international supermarket if he had any younger cousins our brothers who act and he got me in touch with Mohamed above. he’s done some acting and seems perfect for the role. He is also getting a mate involved to play the second kid who nicks the bags.

Halls manager – In the works of sealing the deal with someone now.

Girl that walks past in scene 1 – ??? Possibly my brother Georges girlfriend, maybe sonia? Could be two girls? THIS COULD ALSO THE GIRL WHO POURS THE JUICE IN THE PUNCH???

Possible housemate – Sam (AD)

Samantha – Hopefully… Sophie Cheetham, an actor from 1st year Photography

Local milkshake crew – Gavin and myself

So right now as it stands, we are need of Hugo, Halls manager, and a grild that walks past in scene 1. Plus extras, which I think is sorted.

Where’s the script?



Sam and myself have been working on the script for the last couple of weeks. As it currently stands the script is in its 2nd and a half draft. Its the 4th version I have PDF’d in my evidence folder.

The 1st version that goes to the 5th scene was written by Sam and I together, I dictated, he typed.

The 2nd and 3rd version was continued by Sam solo until the end at scene 11.

The fourth version is now my edit. I have changed some of the lingo, cut, edited, slimmed down, added and re-arranged. Theres a healthy mix of sams originality and my spin. There’s a few more things I have to have a play around with..

The House viewing – The script needs to be moulded a bit more to that particular house. No major cuts. Funny additions in regards to props plan to be introduced. Sex Dolls and Chippendales posters always get a cheap giggle.

The last scene needs a bit more ‘something, something’ in it. I don’t exactly know what, but something to liven it up a bit more. Maybe when James (DP) and I put the shot list together for it we can beef it up a bit…

Today with my Director of Photography, we have been together the Shot List. We got the first two scenes done in about 4.5 hrs. Its real time consuming. We plan to get alot of it done tomorrow. Below is an example of the script with the scene/shot numbers on the right.

Screen Shot 2013-04-10 at 01.23.25



Below is what the corresponding Shot Plan looks like.

HE   SHOT LIST   Google Drive


Ive been trying to cram as many jokes possible in since Sam gave his complete version. Theres a book kept in close reach that gets lines of comedy and ideas scribbled in it. One of the only use’s a pen for anymore.









Prop List

Scene 1.

Car 1




Scene 2.

Toms room – half setup

Scene 3 & 4 & 5.

Part scene



Punch Bowl

Drinks empty and full – bottles (variety of bottles) – booze and soft drinks

Fake tobacco  – greengo stuff

Fake drugs – powder – crystally

Contact lenses – wide pupils ??? eyedrops? drugs?

Plastic cups

smoking paraphernalia


Scene 6.

Office setting.

Fake sick?

Scene 7.


Car 2


Change of clothes for Jules – possibly really shit clothes for the rest of the day.

5 panel cap for Gavin?

Scene 8.

6 Wragthorne rd –

Make up living room/Kitchen

Make up one fake bedroom – ‘Martins room’

Posters (chippendales?)



Stuff you would have in a house

Manakin / sexdoll

Wigs – ask mum



Bathroom stuff

Scene 9.

Bags – just rucksacks, if that

Curly wurlys

Scene 10.

Guessing moist the stuff is already at Sonia’s, but need to go check and possibly find somewhere else altogether due to the bins scenario.




If there was a longer filming window and length wasn’t an issue…

We have decided to cut back on the script. It was going to be over ten minutes, and we needed to simply the situation for production purposes. Therefore we have cut out the the chicken shop, filming permission would have been tough and complicated. We cut out the estate agent, there was no real need for the part. The boys only now look round one house not two, finding a really dirty house, or un-finished was proving quite difficult. Taking it out didn’t harm the plot, like the cuts didn’t harm the plot. There would have been some extra funny moments but there enough time for everything, and there is already enough on the plate.


Initial Storyboards

Plan of action – The list below was made by myself so that Hannah had something to work from when making the initial storyboards

Scene 1. Exterior shot of halls, with car & mother maybe bags. See Royal Park Halls (1)

Scene 2. Unpacking, half done, Tom sat down, Subdued by Alister. (1)

Scene 3. Before and after of party (2)

Scene 4. Three of them getting bollocked by halls manager on office. Maybe with Alister in as well. (1)

Scene 5. Three of them sat on the rd. With bags piled up. Hugo smoking, Jules, arms in the air, and Tom pissed off. (1)

Scene 6. interior of chicken shop. angry chicken man, Jules looking at porn on computer at back, hugo with bacon. (1)

Scene 7. –

Scene 8. House 1. broken down, rotten, generally awful. Could get estate agent in here?

possibly just an exterior of a run down house with estate agent guiding them in. (1)

Scene 9. House 2. Fine normal ‘boys’ house, but with weirdo/s. Possibly a shrine to some obscure star in the corner (1)

Scene 10. simple picture of them quivering in the park in the rain. Hugos illuminated phone. (1)

Scene 11. Cosy in Samanthas house. (1)

Here’s what Hannah came up with …


Calendar – Organisation

Picture 2 Picture 1

Above is my calendar from February and April. As seen it was choc-a-block and still is. Without my G calendar I would have been completely lost, I far as I have seen there is no other way to keep organized.

Character List

I have done a character sheet for the 4 main characters, but here is a list of every role needed. So far I have Tom, Jules, possibly Allister (Sam’s main manager from his stage show?), estate agent should be Brain (another one of Sams crew), Creepy tenant will be Sam. Meaning I have to find… Hugo, Samantha, Bin kids, Mum, Housing Manager and chicken shop man (which I think we can use real chicken shop man).

– Jules

– Tom

– Hugo

– Allister

– Samantha

– Bin kid 1

– Bin kid 2

– Estate agent

– Creepy tenant

– Mum

– Housing manager

– Chicken shop man


10 extras ages 18 – 30 male and female



Tom – The Protagonist

  • 20 yrs old
  • Raised in a small mundane village

  • Average looks

  • Musically inclined

  • Sporty

  • Into computer games / films etc.

  • Average build

  • Casual / average style clothing

  • Only man in the close family – two sisters

  • Unfortunate – sometimes caused by his own actions

  • Occasionally witty

  • Intelligent but makes stupid mistakes

  • Long-term girlfriend

  • Geology Bsc

What does he want?

  • Escape his mundane village life
  • Have a normal university life

  • Continue his passion for hockey, cricket YET EASILY EMBARRASSED ABOUT HIS ‘PASSION’

  • Remains in his relationship with his long-term girlfriend AND PROGRESS IT TO THE NEXT LEVEL

What has he got to lose?

  • His girlfriend
  • His mother’s trust
  • His expected university lifestyle

  • Well-being

  • His course

  • His plan for the next 3 years



  • 22 years old
  • From a rich background but doesn’t like to be part of it

  • Generally not so wise

  • Has his moment of intelligence though

  • Sheltered upbringing from parent

  • Stubborn about his beliefs

  • Slow on the uptake

  • Selfish but not intentionally

  • No moral compass

  • Unaware of others feelings

  • Prolific drug-taker

  • Passively funny

  • Love spending his day on computer games, dossing

  • Hates being outside

What does he want?

  • To be nothing like his parents / family
  • To find a calling in life

  • To get laid

  • Constant money for little effort

What has he got to lose?

  • His drugs
  • His freedom to make his own choice

  • His safe haven (bedroom)



  • Fast paced
  • Thinks he’s cooler than he is

  • Been in a band but not successful

  • The umph behind the group
  • Witty and cheeky

  • Thinks he’s streetwise

  • More of a local

  • Confident

  • Loud / crude

  • Dominates Hugo

  • Handy at getting things done but doesn’t often work out in the long run

  • Gets a girl occasionally but never works / treats them like shit

  • Not a lot of money

  • On a music course

What does he want?

  • To be ‘The go to guy’
  • Attention

  • Wants his band to do well

  • Wants to be physically fit

  • Parents attention

What has he got to lose?

  • His ‘supposed’ street cred
  • His musical reputation

  • His musical equipment



  • Tries hard but still un-liked by everyone
  • Poncy

  • Thinks he’s gods gift to women (mankind)

  • Runs loads of societies, clubs

  • Intelligent but knows he is

  • Posh

  • Went to Catholic all boys school

  • Plays sports but rubbish

  • Awkward at times

  • Slightly Rick from the Young Ones (outbursts of loud nonsense)

  • Abides the rules, citizens arrest type of guy

  • Just a bit of a general twat

What does he want?

  • Superiority
  • Be in charge

  • To be liked by everyone

  • Everything to be his way

What does he have to lose?

  • The respect of his peers
  • Self imposed power

  • Control



Part 1 (2min30sec):

  • Scene 1 Halls Ext.: Tom is dropped off at halls by his mum, says good bye.
  • Scene 2 Toms Room: Tom is finishing unpacking when Alister comes in and introduces himself, Alister exits when he suspects uni rules being broken. (smoking)

  • Scene 3 Flat party: Tom approaches party and enters to see a crowded room. He spots Alister and is antagonised by him. Sees Jules and Hugo lighting up and goes to speak with them. Hugo puts MDMA in a bottle of juice.  Alister kicks off at the smoking indoors so they go outside smoke and converse. Back at the party someone adds the juice to the punch. The three head back and when they open the door, everyone has come up and the party is a mess.

Part 2 (2min30sec):

  • Scene 4 Housing office: The three of them are sat in front of housing officer being disciplined. Alister is in the corner on a come down. They get accused of prolific drug use etc. (with evidence). They are thrown out.
  • Scene 5 Streets: The boys are sat on the street with their belongings, a car comes past and throws something at them. They go off to get cleaned up. Hugo is left with the bags and ends up being robbed when 2 kids cleverly trick him. Tom and Jules return to discover the stolen bags.

Part 3 (2min30sec):

  • Scene 6 Chicken shop: Boys are discussing their options while eating some food. They use the internet at the back of the shop to book a few house viewings and then are quickly thrown for disruptive behaviour.
  • Scene 7 Estate agents: Tom speaks to the estate agent who tells him he can show him around just one house.

  • Scene 8 House Viewing 1: The boys are shown around the first house and it is a fucking shit hole in a rough area.

  • Scene 9 House Viewing 2: They arrive at the second house. The man who shows them in is a complete freak and it gets to the point where they have to bolt.

Part 4 (2min30sec):

  • Scene 10 Streets: The boys are getting desperate, it is late and their luck is running out. Hugo finds a number of a tenancy ad in his pocket. They go and check the place out.
  • Scene 11 Samantha House: They arrive at Sam’s house and she takes them in and looks after them. They get settled into the house when Hugo spots the kids who nicked their laptops out of the window. They rush out of the house to go and chase them down



Put all the characters into boxes, stylize, cliches innit

This plot is meant to span 10 minutes, and so far it seems like its going to go over. It takes me over ten minutes to explain the story so it is.

Again this was G Doc I have just copied and pasted into the blog. I am very happpy with it. To me it seems like a ‘real’ story, something you would usually see on television. The only problem is that this fits a 22 minute episode not 10.

Crew List

Screen Shot 2013-03-25 at 14.20.43

Like the auditions It has taken nearly a term to get a crew together. Above is the Crew Information sheet that I had Greg make look nice. The original is a G Doc with a lot more information on it, that I dont see fit to post (telephone numbers, availability etc). Anyway it looks great and I sent it out to the crew to have a looksy and see what everyone else is doing. Every crew member I have spoken to since email me out has commented on how ‘cool’ it was so I guess it has worked motivating and informing the team. To get this crew together and to to this point of having a crew list nicely designed has taken two months. A lot of people who I originally had on the crew have dropped out due to having other stuff on.

I have filled all the main areas of production, however it will be the case that all ,members of the crew are not going to make every shoot. Therefore a I have a very important B-team, consisting of a few guys from 2nd year DFGA who will fill in for other people who cant make shoots. Still big roles.

Original Ideas

All notes in italics like this are blog notes and not part of the original document. Everything not in italics is the Google Document I used to envision the project.

All of the below is the original concepts of what Higher Education should be. What its like, what it relates to

Peep Show sets parameters for darkness and comedy. Something terrible happening then something hilarious happening – RESEARCH

Party hard, endless practical jokes. How students should be.

Loser slackers. Hoping life isn’t going to like this forever.

The above was an  ideology taken from workaholics,and adapted, it rang home well.

Whenever the good times are shown in regards to drugs, there must be the down times also, equally.

I think that this has to be in place, I, in no way want to be seen glamorizing drugs. There are always downs to the ups.

PLOT 16 minutes 2 x 8 minutes?

Should it 10 mins total? 2 x 5 mins?

Originally thought out to be two short webisodes, it seemed better to shorten to 2 x 5 mins, and now as it currently sits one 10 minute episode , with the likely chance of it being shortened even further in the near future.

1.Get into halls – get chucked out of halls

2.Desperately try and find somewhere to live. Someone gets something nicked, like a bag.

3.Find somewhere – but ends up in failure

4.Find somewhere out of chance or coincidence. How do you find a house by chance??????

After doing some research into story arch structuring, more re-affirming with pictures and graphs what I’d seen, heard and read for my entire life; I managed to come up with story above, which Sam (AD) was happy to work with.

The Protagonist…


As far as he was concerned he was a nice guy. Did the occasional stupid/bad thing (to fill the void of mundane everyday) but kept up the pretenses of being a good person to everyone around him, family, friends.

He had a sheltered upbringing, in the stix. Kind of umbrella-d by my mother. The only man in the house after his father left. Has a younger and older sister.

He did well in school, just got on with everything. A bit of a talented inbetweener. Plays piano and other instrument, more classical. Never been in a ‘band’. Has a soft spot for old school hip-hop. Can be funny at times.

Started getting really bored of life at home by 17. Started acting out a bit. Girlfriend was getting worried about him. Smoked weed(!) a couple of times. She thought he was going of the rails a bit.

He’d been with his girlfriend since they were 15, and still hadn’t slept together. She was waiting for the right moment (or could be christian(marriage)).  He may have got a hand shandy once; but she fell asleep halfway through as she was pissed after after some sort of really tame meeting (church or young entrepreneurs meeting). Never happened again. She felt bad about it.

She ‘cheated’ on him once @ 17  (snogged a guy at the pub). He’s very scared of losing her but she knows that and uses it against him. Basically shes a real pain in the ass.

He’s down to earth but not particularly clued up or streetwise, but willing to learn.

Quite sporty – hockey – cricket – (other lads nick equipment and play with on the rd, fucking it all up.)

So bored of country life, he moves to Leeds for university. He’s now 20 years old and looking for fun.

Computer user, but massive gamer

What course does he do? – geology – research this….


HUGO (a younger barry from Eastenders?)

Hugo and Jules like fantastic mr fox and the possum Kylie (with spinny eyes)

Parents won the lottery 10 years ago, not tonnes, but a few mill. Really un-stylish new money, fake tan etc. Instead of moving to a nice area they just bought the biggest house on the estate. Hugo kinda gets what he wants from them but doesn’t take the piss. Can see him wearing polo shirts always.

A really nice posh guy. well spoken. But likes to go against his upbringing, Quite a big weedsmoker ‘trustafarian’. Like the protagonist, up for a good time, and trying new things. Also quite sheltered by his rich parents and over top boarding school. Even though he doesn’t know any better, you still like him, hes learning. Every now and then makes out this world comment about his youth and growing up. Parents divorced. Hates his dad. quite slow at picking up on conversation, always gets it muddled and needs it repeating. Never really listens. In his own world. Gets a girl every now and then but no romeo. Doesn’t particularly care what people think of him, quite chauvinistic, without even knowing it. Says only very slight racist things every now then, just borderline stuff nothing offensive to the normal person. No real moral compass. Never tidies up, has to be asked to do everything. Just oblivious to it. Has moments of clarity.

His ideology can be harsh but true, rambled.

He doesn’t want to be anything like his parents. His dads a real dick and his mums a bit slow, a bit dappy but gives him money when he needs it. Dad thinks hes slow like mother.

Bit of  a lost cause, trying to find a calling in life.

Loves computer games and wasting time. Happy in his own world, needs his own space.

Got a good comfort zone… the house.

Yorkshire footwork scene?????




Tom arrives at halls of residence. Dropped off by his parents, says his goodbyes and instantly clocks a girl in his flat. Later after unpacking, hears a knock at the door and its the girl from earlier. They make small chat and she lets him know of a party in the flat above that evening. As soon as the door closes, its knocks again. He thinks its her, he says come in and instantly Hector slightly repulses Tom. Barges his way in and sits down on the bed in front of Tom. Introduces himself as a general busybody (Flat, b-block rep???), also fellow geologist, find out loads of info about Tom off the representatives computer system. Ends up gnawing his ear off for ages, but suddenly stands up out his chair. Hector shouts “is that tobacco I can smell?” and jolts out the door screaming at the top of his voice.


Tom is left by himself with a can of bear in his new bedsit. Hes happy, for a second, then you see his phone starts buzzing, you see its his mum. He shakes his head, goes to pick it up and the shot fades out.


Then cuts to a night time outside shot of halls, mild background dance music thud. People laughing etc.


Goes to shot of Tom walking up stairs and opening flat door. As soon as it opens the music gets louder and clearer. He walks past a few people in the hall before getting apprehended by Hector. Hector lays into him straight away, talking about geology etc. Tom is alright with this at first; he doesn’t know anyone, but soon gets bored. Whilst looking round he clocks the girl he saw earlier. She waves, he follows suit and wanders over. They chat with smiles, general stuff, courses, hometowns etc. She suddenly gets distracted when her BF calls. She doesn’t seem very happy about it, and excuses herself. At this point Tom is by himself, surrounded by people he doesn’t know, bar Hector who he doesn’t really want to talk to.


Somehow his attention is brought to the two lads in the corner(Jules & Hugo). Maybe their skinning up and ask Tom for a light. Tom notices their skinning up straight away. He ignore Hector and just walks away from him mid sentence. Goes over the room to them. Starts talking He looks at the rolling and Jules asks,


“Do you smoke?”


TOM -“Yeah a bit. Its hard to get round my ways. Never really put any effort into it”


JULES – “Oh yeah? the opposite round here pal. The locals hand business cards out the car window as they drive past.”


HUGO  – “If they think you take drugs and that”


TOM – “Really? What for weed?”


JULES – “Everything. Int that right Hugo?”


HUGO – “Yeah. EVERYTHING”. His eyes broaden as he says ‘everything’ and then quite quickly goes to light his spliff.


As soon as any smoke appears hector comes storming into shot.


HECTOR -“You can’t do that in here! No smoking allowed (goes into some technical law talk)”


“But this isn’t tobacco” says Jules


“well what is it then?” inquisitively asks Hector

All three meet at a party in halls, all drawn together by weed. They do know each other, but all get along by the common love for cannabis, and later other drugs. They chat quickly and discover other common interests, gaming, women, music etc. Whilst chatting they decided to pull off a prank to ruin the rubbish halls party. Kind of against everyone in halls, the sheeple.

They all get chucked out of halls. kicked out. This could be a party or prank gone horrendously wrong. Has to happen in the first minute. Think panty raid.




They are the all out on the street with all their stuff. Too much for the bus or just to carry around.


Constant opposing force against them for a day. Someone stays with the bags – but when they get back their gone. Whilst waiting with the bags a local (chav) driver past (music blaring) and throws a milkshake all down one of the boys.

They send hugo off to the shops with some of the last money for essentials and he comes back with the most useless stuff. No ones very happy.


They end up with it in Popinas, discussing their future. What to do, where to go. Scouring the internet, thinking of prospective mates to stay with. Gumtree & phone books


They go stay with a weird mate, All three in the living room, sofa and floor. Something bad happens in the night. perhaps gay couple making loud noises.




The next day they find somewhere better with a girl who has two rooms free, 2 boys have to share. Its doable, but not amazing


OR find a new place. Bit of a dive and the landlord is mental. (BUT HOW DO I GO ABOUT FINDING AN EMPTY PLACE?)



Bin kids in the neighbourhood knocking down stuff making noise, always harass the boys after school.





Auditions are tomorrow night. To get to this point I sent out group emails to all appropriate local drama courses at the Met, Uni, City College, everyone at our college and Gumtree. I have also contacted a couple of people personally, friends and one guy I saw in my assistant directors stage show.

I have had plenty of intrest. Mostly girls which I why I have contacted a couple of acting friends. We have had the radical thought of just switching the boys for girls. It would make things interesting  but would it work? Are slaggy, drug girls funny? I know a couple in real life and the answer is sadly, no. There is still potential here. Sam (AD) and I will discuss further after auditions.

Inbox   wc69544 students.leeds   Leeds College of Art Mail

I think I have about 10 people coming to auditions tomorrow. It has taken me about 100 emails to get this point, solely audition related. Finding and booking the rooms, keeping people updated and having deal with a couple of borderline special cases; plus the snazzy audition form above from Greg in Graphics. It will interesting to see who I get from gumtree.

Thinking out loud


Currently with about 10 roles to my name I am inundated with stuff to do. My blogging has been slow but workload has been like no other module. Im worrying about everything, a lot of this is now out my hands.

I was worried about the brief I had set myself, as I said that I was going to research how write a script, and look into other areas of film production. I haven’t researched script writing, I wont research camera or lighting or sound very much. I have in a way produced a team whereby I dont need the highest technical knowledge in production roles. I have someone better than I am to do it for me. Leaving me to get on with my own job, currently producing, but soon Directing. This is what I need to do some research into.

Im worried that all I really need to research is role of director and putting the damn thing together. I physically cannot put huge research into everything else. By effectively producing I have managed to eradicate the need to do research into roles I will not be actually doing. BUT. It is of importance to have knowledge over the main areas of production to be able to effectively communicate with other team members, and in worse case scenario (that unpaid work can bring) fill in on that role.

Im working 7 days a week, normally 12 hr days on this project. Most of my time is taken up organising and planning. It has taken up to this point to get a crew of 16 people and organise auditions for tomorrow night. I pray that people turn up.

There is always an email to write, wether its letting uni know that the theatre isn’t needed anymore or explaining things to the actors. Its non stop.

I dont know how to be with crew members, do I put my foot down and risk losing people, or keep cool and end up with no turning up to shoots?

Things I need to do…

Actual mapping out of time realistically. SERIOUS GANTING? Find bestest software to do this. Got to make it look sick. Start to get Greg involved, he seems a bit bored : (

Maybe try and appropriately delegate. But what can I delegate?

Am I doing too much or is it appropriate to delegate, and if so to what level?

Realistically do work. Do the more important first, I can email people anytime.

The foreseeable future

Todoist Error 502  Server Error   1


So I have pretty clear plan on what Ive got to do, and worked out how to blog what I have done so far. As you can see by the image above Ive screen shotted, Google drive is down. So even if you do have a good connection, service providers can let you down at their end too. Great, thats all my work in regards to FMP. If this was a hand in/presentation day I would be right up the creek with no paddle.


Todoist2 Todoist1


I started using this software on the last project and its becoming a valuable piece of kit. I cannot recommended it enough, works and syncs through everything. This and Google calendar are key to being organised.

Fool Proofing


Yesterday I sent out a big group email to actors about auditions; today another big group email out to the production team (as seen in the post below). To make sure people actually read it, and know I mean business I have sent out group text messages alerting people that there is an important email for them that needs replaying to. If people still dont reply after all the alerts then they quite simply dont deserve to be on the team.


Hold tight ALL CREW

The production crew is now complete 🙂

Ive sent this email out as an update…

Hello everyone.

This is an update on everything that’s happening so far….
The production crew is now complete at long last. There 15 of us and from what I’ve seen so far everyones got something totally rad to bring to the table.
I plan to start filming at the end of Easter, about the 8th (if we can?), and the week later, from the 15th of April. What are peoples availability on the weeks commencing from those dates?
I am trying arrange more evening shoots, but there will be some daytime stuff too. I am not planning on massive time consuming shoots, we are not making a nature doc for the BBC. Hopefully we can get it done over a few days, and I dont think shoots will go over 3/4 hrs at a time. I will be considerate in terms of peoples plans and general work load as some people here have full time jobs on top studies.
Sam (Assistant director) and myself have nearly finished the script and its looking great. If anyone on the crew wishes to come see where were at (plot, locations, props ets), your welcome over to pop into the studio anytime this Friday/weekend in Hyde Park.
To fund this project Im selling 500 of my records, which is kind of soul destroying but hopefully this proves how serious Im taking this. I cannot pay any of you, but hopefully we are all going to get something advantageous out of this. PLUS as a thank you I plan on putting a few hundred quid behind a bar for us all. A bit a wrap party at the end for us when the fucker is finished. Including the actors theres about 30 of us all together. 
Does anyone have any ideas? Queries?  Im all ears 24/7 
I will have a production pack out to you all soon. This will include details of everyone else on the crew, who they are, what they do, and contact details. 
Can Jaime, Phil, Chris, and Tom Stevens please send me a picture of themselves for the production pack, I have everyone else’s.
If anyone fancies casually discussing the project, then come meet me and some of the crew this Sunday afternoon for drinks around Hyde Park. 
I will email everyone soon with details on how to log into our production cloud account. Currently Im uploading some comedy gold for everyone to watch, and get inspired like. Later it will be used to transfer data efficiently between us.
Im very excited about this all and hope you guys are beginning to be too.
Billy Clay

Higher Eduction?????


I want to call my short ‘Higher Education’, it works on many levels, doesn’t really need explaining. I did a bit of research and managed to find the above feature on IMDB. It did take me ages to find it and from what I can tell it must be 70 mins of pure trash. Sorry if Im offending anyone. It is kind of on the same idea which is a shame, but Im not letting it hold me back.

Keeping Actors up to date

Outlook   bill.clay


To keep people on their toes and let them know something is happening soon I have sent out the above email to all the poepel who are interested in acting. Theres about 13 so far 14 including Sam the AD (assistant Director). Unless I get inundated with loads more I think that there will be a role for everyone.

I now need to get something like this over to everyone on the production crew. I need to get a pack of info done for them ASAP; which means finalising dates with key members of the team, also asap.


Finding the rest of the crew

Group email to fashion   wc69544 students.leeds   Leeds College of Art Mail

Above is the message I have sent out to everyone on Fashion and below a poster I printed  (with my email on, but without the word been 😦 ) to get the attention of a particular girl i have only heard rumours about. Hopefully someone piece the puzzle together and get back to me.

Untitled document   Google Drive

I am still without a Storyboard Artist. i think ill put and add up on our DFGA forums and maybe group email to Vis-Com if need be.



No one has yet got back to me from fashion about being a stylist, har or make-up which is a shame. saying this I have about three girls on the production crew and I think every single one has told me that they want to do it, so I recon between them we have it covered.

THE ART DIRECTOR IS … Lydia Fothergill. I have met her today and I gather she does want a role but is busy herself. We are going to re-convine soon and try and work something out. She would like the role of Set Dresser.


Art Director & Story Boarder & Make up???

art-director dick

After my tutorial today with Anna Beth it has become apparent that an Art Director is needed. Anna suggested a girl in the 2nd year of Vis Com. However her name could not be remembered. To find her I can either email the Vis Com year group or I can try and find who she is from their course leader David Collins, who knows me from working on the Agua es Vida project.

I have been recommended by a !st year DFGA student, Jaime, who worked on my Cloud computing project, that a girl called Beaty Szwagierczak in his year is a pretty awesome at storyboarding. She’ll be getting an email after this post.

Beautiful Make Up

I also need someone for Hair/makeup/stylist role. For this Im going to send out emails to the fashion lot. Maybe it could be a good idea to get in touch with the lead tutor to se if they know of anyone in particular thats suited to the role. That way I know Im getting someone that hopefully wont let me down, plus when approaching someone for a role; I have found that it is advantageous in regards to getting them involved as they feel good about themselves when they know that they have been suggested or hand picked. In a way  motivational practice.

It has come to my attention that I should be maybe reaching out 1st and 2nd year students. From my own day to day life, it has been realised that when production is taking place for this project all 3rd years will be uber busy. There are plenty of worthy 1st and 2nd years who wont be as busy and willing to help on an FMP project.

Calling all actors

Actors Wanted   Student Sitcom in Leeds   Artists   theatres

As suggested by Sam, requests for actors were sent out to the relevant courses at Leeds UNI, Met and College; plus an ad was put on Gumtree as seen above. The layout of emails sent to educational establishments is below. I have also spammed our entire college, therefore every relevant course at the main local uni’s and colleges have been reached.

Outlook   bill.clay


The show was co-created and is largely written by its three stars, Blake Anderson, Adam DeVine, Anders Holm. Frequent co-star Kyle Newacheck also directs most episodes, as well as being a fourth co-creator and serving as executive producer.

It has 3 main characters and 6 re-occurring.

Workaholics was ordered by Comedy Central in March 2010 after a Comedy Central executive saw a series of videos the group had posted on YouTube. The above video is their first. Which vcan be found on their Youtube channel, mailordercomedy. Another skit below…

For more insight there are more behind the scenes and interviews below…


So far, people have been asking what are the influences to the comedy. how it will be produced and the type of comedy thats trying to be achieved. Two major influences must be the new US program Workaholics and the newish English comedy People Just do Nothing with hints of the Young Ones thrown in there.

Picture to text = Rubbish


Heads on the forums recommended mobile OCR and ImageToText for the iPhone. Gibberish like this comes out the end of both apps…

In our opinion (and we cannot stress n
of this book are only our opinions, bue^^^
experience* the term ‘Situation Comedv’ years of writing
snomer. What you’: aling with in the 1? bit of *
is actually ‘Character Comedv\ Of course Z* Y�m scnpt
your characters find themselves in are imp^^ **
l,ke location time period etc, but regardless of how coburfuU
… or how outlandish or fast paced a plot if *oui
characters have all the beUevability, warmth, charm, humour
and just plain personality of a soggy flannel … then who cares?

Also tried the OCR cloud service which was a bit better but still quite rubbish. Enough time has been wasted on this endeavor. Back to the scanner.

The New Team




So far I have managed to get quite a team together…

Sam Hudson, an MA student at Leeds Uni doing MA Writing for Performance and Publication. I found this guy by putting out a group email to all the students on the course. So far I have met him a couple of times, and he really seems to know what hes on about. He will be jointly writing the script with me, may have a part in production, and will be assistant director.

Danny ‘Denzel’ Cooper, from our class. He will be in charge of sound, I will be assistant to him. He will most likely do all recording and some editing jointly with me. Danny will also be in charge of any animation, but this will be small, most likely just credits.

Tom Minton, who currently works at the BBC, will be great addition to the sound department.

Greg Hardy, like Danny Cooper, Greg is a member of Klunk who will be in charge of any graphic design.

Jaime McLoughlin, a current 1st year student on the course. He helped me on my last project and did a good job as a runner. His help would be very useful this time round also.

Sonia Darrington, with a masters in sociology, her linguistic skills have helped me on many projects before and will help on many in the future. Perfect for proof reading and script additions, plus having a ladies touch on a male dominated project is always a bonus.

James Pilgrim, a 3rd year photography student could also be our Cinematographer. This is yet to be confirmed though.

Kai, A mate of mine who is at the Met. Hopefully he will be in charge of Lighting.

there is also a group of people in the 2nd year of DFGA who Im waiting to hear back from. One who has confirmed a place on the team is Phil Jones.

More team members?

Mike has told me of a few people to get in touch with in the 2nd year about working on my production team. Tom bone, for DSLR work – also in group halls of residence flat. Plus Phil Jones, Yoni cohen, Tom Stevens. Heres the email I sent them below…

video peeps   wc69544 students.leeds   Leeds College of Art Mail


I also went to see the photography tutors to see if they knew anyone on their course that was particularly good with video and they suggested James pilgrim in the 3rd year. I have also sent him an email…

Been told your the guy   wc69544 students.leeds   Leeds College of Art Mail

Finding actors



Looking in the wrong place, obviously local talent will be doing Theatre. Sam has told me to look on…


Colleges –

Theater Groups @ city college next to or part of the met

Casting call pro

Open Theatre Society

Load of girls (in general), not too many dudes

Leeds Met theatre

Dramatic Structure

Freyrag Pyramid_Carrie

After going over what Sam advised me to do with Anna Beth, she put me onto Dramatic structure, most notably Freytag’s Structure. Below ripped off Wiki…Above an example of this theory in regards to steven kings ‘Carrie’ and at the bottom ‘Halloween’ by John Carpenter. 

Freytag’s analysis

According to Freytag, a drama is divided into five parts, or acts,which some refer to as a dramatic arc: exposition, rising action, climax, falling action, and dénouement.

Although Freytag’s analysis of dramatic structure is based on five-act plays, it can be applied (sometimes in a modified manner) to short stories and novels as well. Nonetheless the pyramid is not always easy to use, especially in modern plays such as Alfred Uhry‘s “Driving Miss Daisy“, which is actually divided into 25 scenes without concrete acts.

Exposition or introduction

In the exposition, the setting is established, and the main characters are introduced. This is often done subtly without the reader knowing. It usually lasts around 2 to 3 minutes at the start of a play.

Rising action

In the rising action part, a related series of incidents build toward the point of greatest interest.


Main article: Climax (narrative)

The climax is the turning point, which marks a change, for the better or the worse, in the protagonist’s affairs. If the story is a comedy, things will have gone badly for the protagonist up to this point; now, the plot will begin to unfold in his or her favor, often requiring the protagonist to draw on hidden inner strengths. If the story is a tragedy, the opposite state of affairs will ensue, with things going from good to bad for the protagonist, often revealing the protagonist’s hidden weaknesses.

Falling action

During the falling action the conflict between the protagonist and the antagonist unravels, with the protagonist winning or losing against the antagonist. The falling action may contain a moment of final suspense, in which the final outcome of the conflict is in doubt.

Dénouement, resolution, or catastrophe

The dénouement (pronounced /deɪnuːˈmɑ̃ː/, /dˈnmɒn/, or US /deɪːnuˈmɑ̃ː/; French: [denuˈmɑ̃]) comprises events from the end of the falling action to the actual ending scene of the drama or narrative. Conflicts are resolved, creating normality for the characters and a sense ofcatharsis, or release of tension and anxiety, for the reader. Etymologically, the French word dénouement is derived from the Old French word desnouer, “to untie”, from nodus, Latin for “knot.” It is the unraveling or untying of the complexities of a plot.

The comedy ends with a dénouement (a conclusion) in which the protagonist is better off than at the story’s outset. The tragedy ends with a catastrophe in which the protagonist is worse off than at the beginning of the narrative. Exemplary of a comic dénouement is the final scene of Shakespeare’s comedy As You Like It, in which couples marry, an evildoer repents, two disguised characters are revealed for all to see, and a ruler is restored to power. In Shakespeare’s tragedies, the dénouement is usually the death of one or more characters.

Modern works may have no dénouement, because of a quick or surprise ending.


Freyrag Pyramid_Halloween


Help with story and Characters



Sam, my script writing pal gave me some pointers last night after I showed him what I had so far….

We need to know the characters, we cant backtrack, other wise script gets muddled, dialogue has to be the very last thing.

Keep cast to a minimum.

Every character, has a slightly conflicting characteristic. They cant be predictable. Two characteristics in one person.

Every story has an incident, the incident should happen early on in the episode.

Every character should have something to loose. Something they want and something to loose.

Series of obstacles for each character, each have get knocked back, then bounce back again.

A large build up to the ultimatum or last scenario.

Best endings are always open ended.

Each character should be a changed state to what they started in.

What would each character buy of they had 20 items in a supermarket?

Start with protagonist.

Dont give the character choices.



Putting the feelers out

Screen Shot 2013-01-21 at 14.06.30



Sent an email out to MA Writing for performance & publication course at Leeds Uni. Very much looking forward to some replies.

Leeds Uni Links

First place to look for some local talent would be Leeds uni below is the link to the Theatre Performance degree. Guessing that the course admissions will be able to pass on the course administrators number to send out group emails on my behalf.

Once on the website I thought it maybe a good idea to find script writing related course…

I have never written a ‘proper’ script. It could be wise to use a script already written, or find someone like minded & in the know to co-lab with.

Below is the link to the MA Writing for Performance…

Comedy tips/rules from Sarah Morgan


1) Hen is a funnier word than chicken.

Deeply controversial. I have a grand unifying theory of comedy that you can divide the world into two kinds of people, those who think ‘hen’ is a funny word, and those who favour ‘chicken’. Oh, chicken should be the funniest word, with its voiceless velar plosive (the ‘k’ sound so beloved of funny words – knickers, knackers, knockers etc. “Yakuza” is funnier than “Mafia” for exactly this reason.) But that’s why, to me, it isn’t as funny. Chickens cross the road and are stapled to punks, they’re part of the comedy bricks and mortar already, they’re lazy.

‘Hen’ is a good shaped word – its round and smooth, it sits in your mouth (or the mouth of the actors you are writing for) like a warm egg. I wrote a radio sketch with comedian Matt Kirshen about amateur butchers which contained the line “you came in here, with just a hammer and a hen…” I get dizzy just thinking about the words ‘hammer’ and ‘hen’ together.

But your mileage may vary. After the comedy panel, over Kev’s mum’s wonderfully moist pear and chocolate tart, I asked my peers, “So. Are you chicken, or hen men?” Paul Mayhew Archer said, “Chicken, of course” . Not in a mean way, but in the concerned, avuncular way God or Father Christmas would say ‘chicken, of course’. My heart withered like an apple core in a glove compartment. Paul Mayhew Archer has a finger in the most successful comedy pies of the 20th and 21st century. I am a tit who shops in the yellow-stickered reduced bit at Sainsburys.

Note: Most animals go through cycles of being funny. There was a dark time in the 90s when simply saying the word ‘badger’ was a thing. Never forget.

2) Some numbers are funnier than others.

Recently I went to see a lecture by Galton and Simpson, exquisitely-suited writers in their 80s who are better at comedy than you or I will ever be. A numerologist in the audience asked if there was mystical significance to Steptoe and Son living at 23 Oil Drum Lane. Alan Simpson looked politely baffled. He said: “I imagine we made it that because 23 is a funnier number than 20.” And IT IS. FACT.

Numbers go through comedy cycles too – a radio producer I work with, David Tyler, is so terrified of wasting any air-time with material that isn’t 100% joke substance, he insists all big numbers in a script are rounded up. The outcome of this is the writing team get quite snobby when we notice baroque, flowery numbers on other things.

“4573?” we say, loftily. “Talk about try-hard. What a massive needoid of a number.”

Five thousand is a funny number. “The deaths have been estimated at four or five thousand.” The sitcom Louie used the number “Seventeen million” to near-devastating effect in the episode ‘Moving’. Fractions may become fashionable again in our lifetime, but I doubt it. Needy. Fractions are the ‘Scunthorpe’ of numbers. If that sentence makes sense to you, go outside in the fresh air, and try and experience one moment of genuine wonder and sincerity today. Smell a baby’s head. Skip naked through a wheatfield. Something.

3) The devil is in the details/use all five senses.

A general useful tip for writing is ‘specificity is funnier than… not specificity’. Say Jujufruits instead of candy. Chocolate babka instead of cake. Big salad, instead of salad. (those are all from Seinfeld.) But also, just chucking the word “Ginsters” into your script does not make you the Alan Partridge writing team.

Words that trigger more than once sense are helpful to enrich your writing – I have ‘touch/taste/smell/hear/see’ on a post-it note over my desk as a constant reference. If you evoke more than one sense, in theory the audience doesn’t just hear/read a word, they taste/smell/feel it and lodge it in a different bit of their brain. You may have noticed I have peppered this blog with words that make you feel hungry – ‘cake’, ‘pear and chocolate tart’ ‘warm egg’. This is because I want you to like me, and feel a primal sense of something or other when you come across my work, and hopefully your mouth will involuntarily fill with spit when you meet me. Yeah. (See also: Chocolate-covered-cherries in Tootsie, the Bog of Eternal Stench in Labyrinth)

4) In these troubled times, warmth is as important as jokes.

The BBC have an edict that all modern sitcoms must contain “at least one scene where the cast are in a car singing along to a song the viewers are familiar with”.

5) The secret to modern comedy with women in is cupcakes. Bitches love cupcakes. It’s the double voiceless velar plosive, no doubt. Also the buttercream icing.


Reading all these tips re-mind me of what I already know but wouldn’t have thought of directly as a way to write. I just usually think of funnies in my head and forget them. If I write all these as notes and put them around me it should sink in.

British Comedy Guide


Another place time should be spent. Advice, insight, books, consultation, directory etc.

Books I need


Found some reviews on much needed books. These can go into my project rational, Heres the best of…

How to be a Sitcom Writer: Secrets from the Inside by Marc Blake

Writing Television Comedy by Jerry Rannow

Writing Sitcoms by John Byrne & Marcus Powell


10 writing tips from will self



1 Don’t look back until you’ve written an entire draft, just begin each day from the last sentence you wrote the preceeding day. This prevents those cringing feelings, and means that you have a substantial body of work before you get down to the real work which is all in . . .

The edit.

Always carry a notebook. And I mean always. The short-term memory only retains information for three minutes; unless it is committed to paper you can lose an idea for ever.

4 Stop reading fiction – it’s all lies anyway, and it doesn’t have anything to tell you that you don’t know already (assuming, that is, you’ve read a great deal of fiction in the past; if you haven’t you have no business whatsoever being a writer of fiction).

5 You know that sickening feeling of inadequacy and over-exposure you feel when you look upon your own empurpled prose? Relax into the awareness that this ghastly sensation will never, ever leave you, no matter how successful and publicly lauded you become. It is intrinsic to the real business of writing and should be cherished.

Live life and write about life. Of the making of many books there is ­indeed no end, but there are more than enough books about books.

By the same token remember how much time people spend watching TV. If you’re writing a novel with a contemporary setting there need to be long passages where nothing happens save for TV watching: “Later, George watched Grand Designs while eating HobNobs. Later still he watched the shopping channel for a while . . .”

8 The writing life is essentially one of solitary confinement – if you can’t deal with this you needn’t apply.

Oh, and not forgetting the occasional beating administered by the sadistic guards of the imagination.

10 Regard yourself as a small corporation of one. Take yourself off on team-building exercises (long walks). Hold a Christmas party every year at which you stand in the corner of your writing room, shouting very loudly to yourself while drinking a bottle of white wine. Then masturbate under the desk. The following day you will feel a deep and cohering sense of embarrassment.

BBC – Writers Room


From the post below I found the link to Writers Room by the BBC. It has plenty of guides and a library to look at other peoples. I need to be hanging here.

Writing Sketches

Written by Richard Herring, David Mitchell and robert Webb

You may be tempted to crack straight on with a sitcom, but start small. Containing an idea in a two-minute sketch will teach you about structure, establishing characters and how to write pithy, economical dialogue.

It is easy to put on a sketch show at your college, pub or on the internet. A producer will be happier to read a page or two rather than a whole script and there are radio and TV shows which are looking for shorter sketch material, which means you have a much better chance of selling your work.

I started my professional career writing topical sketches for the now defunct Radio 4 show Weekending. I actually pretty much loathed the programme, as it was rather formulaic and rarely biting. Yet I stayed for a year, serving an apprenticeship that taught me many skills: from the mundane business of how to format a script (for this and further advice see to technical tricks such as how to avoid clunky exposition like:

FX: Knock on door
MAN: You asked to see me Prime Minister!

This opening establishes location and characters artlessly. You need to look for more subtle ways to inform the listener or you will lose their interest and respect. Don’t treat them like they’re stupid.

I soon learned that even though we were paid by the minute, that it was foolish to write 5 minute sketches. The show was only 25 minutes, so longer skits would be binned, while lightening gags might fill a gap. It was economical to be economical.

Now I prefer to stretch an idea as far as it will go, then a little further. If you can learn to write a blistering 60-second skit with four laughs, a beginning, a middle and an end, then everything else will be easy.

While Weekending is no more, there are plenty of sketch shows on radio and TV that invite outside contributions. If there are lots of writers’ names in the credits, write a couple of sketches in an appropriate style (even if it’s not your particular sense of humour), send them to the producer and you will probably get feedback.

Or you can set up your own sketch group and take a show to the Edinburgh Fringe or film it for YouTube. Try to make your own material as original as possible. When Stewart Lee and I began writing together at university, we set rules about things we wouldn’t write about: celebrities, parodies of TV shows, political satire, all of which were in vogue. By limiting ourselves we came up with a lot of unusual ideas and created our own voice.

Sketch writing tips

· Keep an eye out for interesting real life characters. My driving instructor seemed overly critical of my inability to drive, given that that was the reason I was employing him, so I wrote a sketch about an instructor who berates his pupils for being non-driving idiots.

· Don’t start with a catchphrase. It will seem forced and probably end up with you creating a one joke persona. Create the character, write some sketches and a catchphrase might present itself. Look at Al Murray the Pub Landlord. It’s a multi-layered persona and the catchphrases “I was never confused”, “rules is rules” and “glass of white wine for the lady” come out of the character rather than vice versa.

· Starting with a simple premise and exploring the consequences can be better than trying to conceive something outlandish. Monty Python’s dead parrot sketch begins with the premise of a pet shop owner selling a customer a deceased bird. The genius is in the execution.

Exercises: Character comedy

Watch a whole morning of daytime telly. Look out for an interesting character and then try and write a sketch about them. Don’t try to parody the shows you have watched, just try to find a persona and then put them into a real life situation.

Many of the Little Britain characters were created this way.

Mitchell and Webb on writing sketches

Make sure you have an idea before you start. It’s no use sitting in front of a blank screen saying “right, it could be anything.” “Anything” isn’t a brief, it’s a mental wilderness. You need to decide what you’re going to write before you write it, and this is best done away from the winking cursor.

A sketch needs a premise, a core funny idea that is its reason to exist. As soon as a sketch begins, the audience looks for this premise and it needs to be apparent. Presenting a character? Make sure the funny thing about them is expressed early. Taking the piss out of some element of modern life? Present it at the beginning and quickly undermine it.

You need the element of surprise in comedy but, before that, you need to make people comfortable with where you are. There need to be, to quote the protesting philosophers from the Hitchhiker’s Guide to the Galaxy, “rigidly defined areas of doubt and uncertainty”. So establish the setting first, make it clear why it’s funny, throw in a surprise and get out. Ideally the last joke, or punchline, should be the best but the sad fact is there are more premises than punchlines. It’s a great argument against intelligent design.

Sketch comedy doesn’t benefit from the audience’s loyalty to characters, it’s only as funny as its last joke. But its advantage is that it can embrace any setting, subject or situation. Use these strengths by having lots of short and contrasting items. That way, if the audience doesn’t like one sketch, you soon get the chance to win them over with something else.

· David Mitchell and Robert Webb are the creators of TV series That Mitchell and Webb Look.

Rationale for Project Proposal

I am a filmmaker. Currently in a broad sense as I have been been producing completely. Cameraman, sound recording, directing, editor, cinematographer etc. The whole shebang. It has become apparent that for me to produce successfully one needs to step back from pursuing all forms of filmmaking as there’s simply too much for one person to accomplish.

In this project I will be focusing on directing. I will be in charge of production but will delegate roles to more suited personnel. I will be looking to find a complete team to work with on the task in hand.

I will produce a short a film. It will be a situational comedy. Total run time will be between 15-20 minutes; but maybe split into two shorter shorts, episodes if you will. I will direct. This may only be one role but within it theres still plenty for one man to be getting on with. I will write the script, with supervision, edit and I will find the actors, I will have to make a good relationship with them; and hugely important I will find a solid team. I will be looking for a sound-man, most likely Danny Cooper, I would like a director of photography, a cameraman and someone for costume/makeup/consistency. Overall I see about 15 people working on this endeavour.

Comedy is a hard one to crack, especially as this will be my first fictional works; but I have the intention of getting it right, I’m pretty sure I can do it.

In terms of this project relating to my dissertation, there won’t be much between them. I will go out my way to use cloud services in production but there won’t be huge correlation. Instead, and this is something I need to go over with one of the tutors, I will be looking at further developing myself by trying to get on to a masters. This project would be my lead into getting a place, therefore, it must be professional and have breadth, worthy of being pre-masters material.


This is what I have so far. I remember not having a copy of this after submitting it for my last project. About half way through the project I had pretty much forgotten what I had written, so, to be safe I putting a copy here.

I need to find a relevant range of books, magazine, journals and web based sources that I anticipate using. Using the Harvard referencing system. Ive got a couple but I should ask about some more.