Though there was initially some confusion as to what this assignment would entail in its collaborative aspect, once beginning the pre-production process, ideas of mine began to evolve in a more cohesive manner, and with the freedom that comes from exploring concepts in solitude.

Delving further into found-footage media-making (in conjunction with my own captured footage) would form the visual basis for my creative interpretation of the script I selected, Watching News. My process entailed marking-up the script in a way that seemed fit for my own processes and planning, though I must consider articulating these notes/annotations for other group members in future assignments for more clarity in what it is I’m trying to communicate and pitch.

Another key consideration was the film’s soundscape – a focus on both diegetic and non-diegetic sound — as well as experimenting with how this element would intertwine in how I’d present the script’s contents. When I think to the impact a film’s score has on my own viewing experience, of Vangelis for Blade Runner (Ridley Scott), or Goran Bregović for Time of the Gypsies (Emir Kusturica), I wanted to restructure my approach in communicating the script via not only its visual elements, but with a focus on creating an aural collage to communicate its dialogue – though not necessarily the conversational dialogue prescribed in its original format.

I began to jot down notes; a scattered brainstorm in my journal that I find to be a beneficial process in my pre-production process as it’s where my core ideas are scribbled down without the overanalytical, second-guessing nature of my thought process that often overshadows my creative decisions; sometimes to my advantage, albeit often to my detriment.

I did multiple script mark-ups to try and formulate key themes and ideas that I felt shone through across each of them, serving as a directional baseline for what I had envisioned, a consideration of perspective and POV. I then embarked on the process of sourcing and capturing footage that reflected such ideas (/visions), experimenting once more with how I could manipulate footage or mimic visual distortion to the image, in-camera, before the post-production stage.

***** Visual tests with magnifying sheet found.

I was away in Hepburn Springs and prepared a loose schedule for myself to follow, despite my tendency to avert from an organised structure, rather following my own creative rhythms (though I acknowledge the importance of such schedules and structures, especially in collaborative work and the nature of deadlines). Upon reading the script, I began to mark notes of key content and selected dialogue before I considered the shots I would use. I felt my stylistic approach needn’t rely on a shot list, but as I begin exploring my concepts and ideas, I have gained a lot more insight and understanding as to why such practises are beneficial, though I wouldn’t say necessary, in how pre-production methods allow for a more linear process in the editing and post-production stage.