Keiron's blog: Short film pitch

Pre-production research

What is short film?

In terms of running time and length, short films are significantly shorter in overall running time in comparison to feature-length films, which would typically be between 90 and 100 minutes in total, with most short films ranging from 2 to 5 minutes and 5 to 30 minutes, sometimes even more. This means that when looking at a short story narrative, the storytelling and events that unfold need to be concise, clear, and well-structured in order to be effective. Due to the majority of many feature-length films being produced and distributed by major studios, the budgets are often high. Many short films are created by either independent filmmakers or less prominent production companies, meaning the budget is often lower. With feature-length films, professionals make up the majority of the team, such as actors, writers, directors, and technicians. These roles are still used in short films, however, they are more often than not done by amateur filmmakers. A more formulaic approach is taken with feature-length films, due to the major production studios often having power over producers and directors in terms of what is and isn’t okay to include. Short films can be seen as more experimental due to their status as an independent with more creative freedom and less censorship from higher-ups. Across the two short films watched, "Get Off My Land" and "Last Man on Earth", we can identify the characteristics and features that define a typical short film. In “Get off My Land”, the narrative focuses on one concept or idea. In this case, the argument between a landowner and a hiker is the main idea that is the only point of the story. This simplicity allows for impactful storytelling. Short films maintain fast pacing with no slow points. Scenes and sequences are distilled down to their essence, ensuring every moment counts. In “Get off my land” the escalation happens very quickly as tensions begin to rise. This removes the need for slowly burning subplots and lengthy character arcs, encapsulating the entire narrative within a specific dilemma or occurrence.

Set text analysis

"The Ellington Kid" highlights how short films can deliver complex, engaging stories in a brief timeframe. It effectively uses the short film format to explore themes of violence, community, and the power of storytelling, leaving a lasting impact on the viewer. Through its efficient narrative structure, the film shows the effectiveness of short films in conveying powerful and thought-provoking narratives. The conventional three-act narrative structure is used within the story to maintain a sense of cohesion as the main climax of the story takes place in a flashback narrated by one of the protagonists. This makes the narrative non-chronological and in turn, keeps the spectator engaged and entertained due to the unpredictability of where the story may go. The rising action emphasises this by highlighting the high stakes of the scenario and draws attention to the theme of gang violence in the UK.

"The Fly" fits the form of a short film by keeping everything minimalistic in terms of casting, location, and depth of story. Although the short film may have begun in media res, the immediate action arguably poses as an equilibrium of sorts, as this is the only equilibrium the spectator is exposed to within the narrative, and the chaos of the situation molds the narrative into a three-act structure in the short running time of the piece. as the getaway driver's actions become more volatile and drastic in an attempt to catch the fly, his growing agitation and impatience can be connected to how the climax was reached when he finally leaves his car and begins shooting at it with a gun in a frantic rage, alerting the police of his whereabouts and ultimately dropping his associates in it with him too, generating the theme of descending into madness. The editing techniques here use a gradually increasing pace of editing as the cuts come quicker as the driver begins to lose control. The cross-cutting between the car and the bank door (accompanied by the added screams of the people inside) signifies how he is losing sight of the main goal and jeopardises the success of the group's mission to rob the bank

"Slap" being one of the longer short films out of this bunch, does not take away from its similarities with the other short films on this list in terms of how the narrative follows a three-act structure. As an individual, I felt sympathy for the protagonist and his struggles with identity and self-expression. The actors all did amazing jobs at demonstrating how a powerful performance can make or break a short film that has limited resources. The concept was unique, and it was engaging to watch the coming-of-age genre explore the tropes of bullying and social perception. One of the key scenes for me was when Connor returns to the boxing gym and loses control, immediately jumping into the ring with a troubling look on his face, before punching an innocent bystander onto the floor and continuing to do so, until his dad had to step in. the cinematography here is what made this part of the short my favourite. The low angle highlighting the repeated hitting motions of the subject forces the spectator to take a long, hard look at what the protagonist has become. in terms of mise en scene, the use of mirrors, and sometimes broken ones, ties into the overarching theme of self-image and identity, and when accompanied by the raw and natural dialogue, there is a sense of verisimilitude that is communicated because of it, authenticity and believability is what makes this short film great.

"The Arrival" encapsulates the inevitable doubt that presumably comes for many women when faced with pregnancy. The title, although ambiguous upon first glance, aids in establishing an air of mystery, the same mystery and confusion that the protagonist experiences throughout the majority of the protagonist's internal monologue. The microelements utilised within this short film elevate the premise of the single-take short, as the camera slowly dollies closer and closer as she contemplates how she is going to manage with this baby if she chooses to keep it. By beginning the short with the dietetic sound of wind and the train, we as the spectators are exposed to the chaos of the protagonist's mind, which is riddled with doubt, worry, and fear. the sound design is very intentional in terms of shaping the spectators' response and reaction to the news of the baby along with the protagonists, as the camera slowly gets closer, so do we, and in doing that a relationship of sorts is established through the screen, and we in turn align with whatever the woman is thinking or feeling, and the incorporation of a very deliberate sound design aids in communicating that. The development of the main character is also something the spectator bears witness to, not only visually, but through the dialogue. at the beginning, she only called the baby "it". However, upon further contemplation, she begins to refer to the baby as "she" once she decides to keep it, highlighting themes of maternity and family as a result.

"Tight Jeans" also adheres to the short film format through its minimal cast and single location. Simplicity such as this is what makes effective stories, as the spectator isn't blindsided by fancy special effects or a star-studded cast, but instead the substance of a good story or dialogue, which takes place in the narrative. The dialogue in “Tight Jeans” is a key element of the story, and draws attention to the themes of friendship, stereotypes and community. The conversation between the friends represents the natural, realistic banter among a group of friends. Thanks to the acting, the dialogue flows organically, capturing the humour and spontaneity of such real-life interactions. This verisimilitude creates a result that actively aids in grounding the film in our reality and makes the characters relatable and engaging. The dynamic conversation keeps the viewers engaged. to an "urban" audience, we can resonate and relate to these characters on a personal level and therefore want to listen to what they have to say, making the runtime of eight minutes something easily digestible for the right audience. The film makes use of straightforward cinematography and editing, which complements its realistic dialogue and setting. The use of close-ups and medium shots helps to focus on the characters’ expressions and interactions, enhancing the immediacy of their conversation.

"Over" is a short film that most certainly is made to evoke strong emotions, ranging from confusion and curiosity to shock and horror. The narrative occurs non-chronologically and instead reveals the run of events in reverse. The mystery created by this makes the reader want to actively piece together the parts of the puzzle until the bigger picture is revealed to them, which in this case, doesn't occur until the end. The wide shots that are used through the majority of the story keeps the spectator at a distance, removing the feeling of being personal with the characters, but instead making the spectator just that: a spectator. This ultimately is more effective for this kind of story, as the curiosity we experience as viewers who aren't omniscient only intensifies as more clues are given to us and we are tasked with uncovering this mystery together as if we were watching CCTV footage and drawing together possible conclusions of what could've happened. The use of ambient sound and the absence of non-diegetic sound (like background music) enhance the film’s realism. The natural sounds of the environment make the scenes more immersive and authentic, drawing the viewer into the setting. This makes the impact of the true incident even more of a shock, therefore making the short film a very impactful watch.

"Operator" is a key example of how good acting, incredible sound design. A high-stakes storyline is just as effective as a short film that is shot in many locations with a large cast. This is not the case here, as it is only shot in a single location with the operator being the only actor in the short with a visible face to focus on throughout the short film. The film once again follows the three-act narrative structure, demonstrated with a clear beginning, with the operator speaking on the phone trying to figure out the dilemma of the person on the end of the line. A clear climax and conclusion are also indicative of the conventional, yet effective way in which this story has been told. The sound design aids in grounding the spectator in the reality of the operator, as well as Gemma (the woman calling emergency services due to her house being on fire), particularly through the interweaving of diegetic sound which is prevalent throughout. It achieves this by removing all background noise of the call centre during tense moments and restoring it once the situation has been resolved and the call ends. the ambiguity of the story on gemma's side actively makes the situation even more nail biting to watch, because we are being deprived of a visual and only have to take the word of the actor, forcing the spectator to use their ears rather than their eyes as a means of forming their own judgement on the severity of the situation.

"Echo" makes use of a particularly difficult to align with main character to evoke emotions and draw greater attention to the overall themes of the short film, particularly towards the ending where the character arc of the character is structured in a way that leaves the spectator considering their own morals and beliefs when it comes to family and telling lies to benefit oneself. The film uses close-ups in order to draw close attention to Caroline’s facial expressions, reiterating her emotional state and the intensity of her experiences. The use of handheld camera work adds a sense of verisimilitude and helps the spectator suspend their disbelief, making the audience feel as if they are part of the unfolding events themselves. The editing is sharp and purposeful, with faster cuts during the phone call scenes as a means of displaying the urgency and tension of the moment. The three-act structure here fleshes out the characters and adds a rationale of sorts behind their actions, making the story more engaging to watch for the spectator, because they are introduced to the motivations and given circumstances of the characters, it becomes easier to sympathise or align with their actions. This ties back into how Caroline's emotional trauma over her father is reflected through her questionable and morally abject actions: faking her father's injuries over the phone so she can get money and validation from strangers around her, which would soon backfire on her as the story progresses.

The round-up

Given my preconceived notions of what a short film is and how they go about building a story, I would say the majority of the films matched or exceeded my expectations of how engaging, emotional, and fun to watch. in terms of which short film I found more fitting, "The Fly" "The Ellington Kid" and "Slap" were the three standouts that pleased me the most in terms of the full package repackaged into something small, short and digestible, in terms of runtime, dialogue, and of course visuals and how they are built. I really enjoyed how in "the fly" wide shorts were often referred back to as a way of allowing the spectator to take a step back from the inside of the car and take a look at the absurdity behind the chaos and how incredibly irrational it is for the main character to be acting that way. I particularly enjoyed how "The Ellington Kid" utilises flashbacks and non-chronology as a way of establishing a framed narrative. The depth of the characters in "Slap", which is not only done through dialogue but through props such as mirrors, proved as interesting devices and is something I will definitely take on board when creating my own short film.

Audience research

Did any of the films conform to expectations?
"I mean, I could tell from the title [The Fly] that the story was obviously going to be about a fly, I just didn't know where the story might go, in the sense that the title is very literal but ambiguous at the same time. With [Slap] I felt as if it went more with what my expectation of a short film is, like dramatic and intense, similar to [The Fly], but this one had less comedy and more seriousness."

Which films did they enjoy / not enjoy? Why?
"I enjoyed both of them, but I least enjoyed [Slap] because it felt like part of a TV series more than a short film, it was a lot longer than [The Fly]"

How do they feel short films are different from feature-length films?
"Apart from the length of them being the obvious difference, the short films are more intense in a way, because the whole plot happens in a faster pace than a normal film."

What did they like about the narrative/structure?
"I like how I didn't have to think too much about missing plot points or getting bored because they were both considerably short. The drama is consistent throughout, and I like how we get to focus on one character. It's simpler that way, but I felt more connected to them even though I don't know them personally."

What did they like about the characters?
"I liked how the character in [The Fly] flies off the handle so fast over something so small, it's relatable, but the comedy of the situation made it even funnier. He didn't say much, but we could see a lot of his personality. The main character in [Slap] I liked because I sympathised with him. It was interesting to see how he manages his relationships at the beginning before it all falls apart at the end. I like them both."

This still image from the short film "Echo" is something I would like to incorporate into my short film coursework. In terms of cinematography, the shot of the protagonist from the outside of the café looking through the window sets up a slightly melancholic and pensive tone, which in turn matches the overall aesthetic of the scene. This shot, as a close-up up also allows the spectator to be up close with the protagonist, but with the barrier of the window serving as an indication that she may be hiding something or is withdrawing from some sort of truth. This inspires me to add something similar in my own short film, depending on the type of narrative I will eventually decide to create visually.

The concept of a non-chronological narrative is an idea that I would be interested in exploring after watching "Over". The enigma codes that are established as the story works backwards, as the spectator is also made to uncover the mystery of the unnerving incident that occurred on the road that day. This is particularly striking to me as a spectator, as even up to the final 20 seconds of the film, we are still unaware of how the body that was found ended up there on the road. This feeling of the unknown is something that would be intriguing to incorporate within my own short film, and finding different ways to highlight it

The sound design behind "The Fly" adds a tasteful layer of comic relief to the narrative, aiding in establishing the reason why the protagonist is so easily annoyed by the incessant buzzing of the fly. Over the course of the film, we as spectators are also subjected to the annoying sound of a fly buzzing around our ears aimlessly. this attention to detail in terms of sound design (both diegetic and non diegetic) is something I aim to include in my short film, as it is evidenced here that sound allows us a spectators to gain an insight into what feeling is generated by that particular sound (such as a large explosion creating shock or fear) and effectively accentuates the aesthetic behind a scene by making it either believable or entirely surreal, depending on the style.

Both short films, "The Ellington Kid" and "The Arriva,l" include effective voice-overs that aid in generating different effects for their spectators. Voiceover in these short films enhances the storytelling by providing insights into characters' thoughts (like in The Arrival) and adding depth to the plot (like in The Ellington Kid). If I were to add something similar in my own short film, I would want to use voiceover to convey internal monologues and background information that can't be highlighted visually. This overall will help to create a richer, more immersive experience for the spectator, however, the voiceover is used, ensuring that they fully understand the characters' motivations and motivations within the narrative.

One thing I particularly enjoyed about the "Tight Jeans" short is how the minimal editing style reflects the simplicity of friendship, despite it outwardly appearing chaotic and random, which is shown through dialogue and performance of certain characters. The editing to me was virtually unnoticeable, and the editor does a great job of maintaining continuity to create seamless and natural dialogue, overall communicating a sense of verisimilitude to the spectator, whether or not they take the preferred, negotiated, or oppositional reading. This would inspire me to be more careful and mindful of continuity when editing a short film and apply it to my coursework, not exclusively for minimal editing like the kind that is seen here, but also for moments where the editing may be faster to reflect a tense atmosphere.

This shot from "Slap" is definitely something I have taken inspiration from, and wish to add in some way, shape, or form to my film coursework. The low angle here positions the protagonist, Colin, in a place of power or imposition, overall making his character seem more intimidating and domineering. The mise en scene of the boxing gym actively sets the competitive - and in this moment, incredibly violent - tone. However this is done in a way where the spectator is aware of the events that happened before he lost his cool and lost control of himself in what was supposed to be a friendly sparring match. The low angle also connotes loss of control. And if this was a theme I could possibly explore in my short film.

"Operator" to me is proof that an effective story can be told by shooting in just one location. By shooting "Operator" in one location, it reflects how a single location allows for greater focus on character development and substance of plot, reducing any unnecessary complications, as well as production costs. It encourages me to take more into consideration creative storytelling, and to utilise the space well. This setting can build a strong, immersive atmosphere because "Operator" is shot on one location, the story and performances take centre stage, fostering a deeper connection with the audience. This streamlined approach ensures a cohesive and engaging film.

IDEAS AND DEVELOPMENT

TITLE: RETURN TO SENDER:

LOGLINE: A seemingly random letter propels Alex into a perilous game of cat and mouse, where every clue inches him closer to a shocking revelation.

SYNOPSIS:

17-year-old thrill seeker, Alex's life is turned upside down as a mysterious letter is opened and reveals more than just words, instructing him to meet at a specific location under the cover of night. As he uncovers the secrets of the cryptic message, he finds himself caught up in a web of secrets and danger. Alex relays this absurd story to his best friend Jade, who warns him against meeting menacing strangers. Alex must navigate through clues and confront an unknown sender whose intentions remain unclear. As the tension builds, Alex discovers that some things are better left in the past. But remember. "The things you seek to leave behind will follow you home"...

will he uncover the truth before it’s too late?

SHOOTING SCRIPT