Let's Talk... SYNERGY!

 Synergy

Last week, I mentioned for a brief moment that a possible collaboration was brewing between "Under Construction" and an organization.

Well... we've got a green light, so I can finally tell you guys about it!

Last year, I learned about a new student-led organization in my school named "Survivors Speak Up," which aims to provide an outlet for survivors to heal and learn to speak up on the issue of sexual assault. Their Instagram page is very similar to mine in terms of focus, and their overall message supports my film greatly. Lola is a character who struggles with speaking up throughout the piece, and she is meant to portray the lows in the recovery process. This aligns well with Survivors Speak Up's teachings on the inconsistencies within healing.

Take a look at one post from Survivors Speak Up's Instagram, and one from Under Construction's.

To help support Survivors Speak Up and Under Construction, I have set up two interviews with the founders of the organization. I plan on editing these interviews fully to help advertise the organization, and I will put snippets in my own Instagram.

Here are some questions I have thought of for the interviews so far:

1. Why do many survivors struggle to speak up?
2. Does recovery come in waves? Are these waves similar for everyone?
3. What can the "high highs" and "low lows" of healing look like?
4. How can we motivate others to speak up during these difficult moments?
5. How can you support a friend or family member that is struggling in the healing process?

Editing

Now for the Painful Part: Editing

Hey guys! Today I decided to start working on the line edit of "Under Construction" as I wait for my actors' availability to open up to continue filming. I specifically put together the "bathroom breakdown" scene followed by the fast-paced montage.

But Sabrina, isn't it dangerous to edit the climax of your film without knowing how the rest will turn out?

Well... yes. But let me have some fun, okay?

I'm not too worried about inconsistency within my film as my entire piece is about inconsistent emotions, and I'm willing to allow the film's editing to depict that, even if it absolutely pains me. Juxtaposing slower and faster-paced scenes is something I have worked on before, but never to this degree, so this is a little out of comfort zone. 

Despite this, the line edit is turning out great. I followed the guide I made for myself last week and luckily there were no continuity errors!!!! Sound the alarm!

I also organized about 70 templates for color grading that I will be choosing between once the final line edit is complete. Color grading is one of my favorite parts of editing so I'm just trying to speed things up so I can focus on that (because heaven knows color grading takes forever).

Updating the Instagram + Future Plans!

Hey guys! I got back home from a concert yesterday, and decided it would be a great time to start working on my film's Instagram page.

I want to continue the motif of lightness and darkness that is presented in my piece, so I decided that my format will go like this:

-All of my posts will have a colored background, with all of the posts in a single line matching in color.

-The background will change in color every 3 posts, slowly turning into a lighter color. This will create a gradient effect.

-I will alternate between promoting the film and sharing advice and awareness on survivors of sexual abuse/assault.

I already posted my first three posts, which depict stills from the park scene as they have a very dark background and serve as the main iconic "sequence stills." The first post depicted a quote from the film, as the third one. I also utilized different perspectives from my shots to create a nice symmetry. This is hard to explain in words, so have some photos:

Next week, I will begin posting healing advice for survivors and their friends/family, and posting character spotlights on my story and keeping them under an Instagram highlight.

Also... a future collaboration is brewing with my short film. I will be teaming up with an organization at my school, but I'll tell you guys about that next week once I have some more details set in stone.

Filming the Second Scene

Today, Virginia and I filmed a second scene from my short film. We decided to record the bathroom breakdown sequence that occurs during the climax of the piece, and everything went... suspiciously smoothly. 

She was able to get into character very quickly, so after she did her makeup as I set up the boom microphone and camera, it was a painless and easy process. 

Since I want this scene to feature fast-paced editing and depict derangement, I made sure to get many shots from various angles. I took photos of stills from the scene at the park and recreated them as much as I could to allow for clean match-cuts. 

After filming, I took some notes on ideas I have for editing.

The scene will begin with Virginia slowly fading into focus. The bright lights from the windows in the background create a false sense of recovery, especially since this scene follows the therapist asking Lola if she is okay. I want this shot to be slow in comparison to others, as this ethereal view followed by the fast-paced, darker edits will be a great juxtaposition.

This shot of Lola actually starts from the reflective silver lining of the mirror (was the silver lining on purpose? No. Is it a cool reference? Absolutely) and pans toward her. She slowly comes into focus, which would be a great follow-up shot after the first ethereal one. In this shot, she stares at herself in the mirror and begins to wash her hands. The camera tilts down to her hands, and back up to the beginning of her breakdown.

This shot is a composition replicate of the shot at the park, which will allow for a seamless match-cut to serve as an introduction to the flashback scene. She stares at the camera, breathing heavily.

Absolutely love this closeup. It allows the audience to take a closer look on her eye-makeup, which I will emphasize in editing using color correction. It contrasts well with the background and match cuts, continuing the idea of contrasting emotions during healing.

Okay so. Let me explain myself here. When filming, I began with a very shallow focus on the water running from the sink, but I had the sudden urge to tilt down into the drain. The lens on my camera was struggling to find a focus point here due to the movement and shallow depth-of-field, so the focus seems to "blink" a couple of times, which made the camera feel strangely alive. Though this is considered to be a "mistake," I really like this, especially since her character is so deranged at this point that focus is not really my main "focus" (ba dum tss).
Also, I wish to take inspiration from the movie "Psycho," which depicts a drain followed by the closeup of an eye (two shots I have!). Although this wasn't planned, I think making a reference to Psycho would work here, especially since Lola is in a state of peak vulnerability.

 Creating the Poster

Hey guys! This morning I decided to put on some true crime documentaries and work on my movie poster. 

I knew that for one of my poster's (the YouTube thumbnail), I wanted to have a dark background that contrasted with the character, as I am building a motif of juxtaposing light and darkness. So, I started off with a simple black layer.

To get the right shade of black, I used the eyedrop tool to capture the darkness of the stills I was using.

Next, I opened up separate tabs on photoshop and cut out three stills of Lola. When filming, I made sure to get various perspectives, so I chose shots that would allow for these multiple photos to face away from one another. 

For the font, I initially chose a font perfectly titled "Under Construction" from dafont.com, but I felt as if this took away from the serious topic of the piece. I decided to go with a plain font and utilize a white-to-gray gradient to continue the motif of light and dark intertwining. 

 Filming the First Scene

Hey everyone. After a long, and I mean LONG day of filming, I have finally returned to the comfort of my bed, and I get to tell you all about it.

This morning, I worked on my friends Isa and Kim's documentary project. We did a long sit-down interview followed by hours of filming b-roll. I'm really excited to see how their project turns out.

After, I met with Virginia to prepare for the caution tape scene. I wanted this scene to be dark with a spotlight on her, so we set up three lights around her. We used a fill and a key light to illuminate her, and a back light to separate her from her body.

We took some shots of Lola from all directions to allow for easy match cuts between scenes and some variety. During editing, constantly switching between these shots from multiple angles may emphasize the character's derangement. 

Next came the fun part: the tape.

We loosely covered Virginia in caution tape and took some close-ups. As Isa managed the camera, I slowly raised the brightness of the "police lights" setting on my light kit via the GVM app. This created the illusion of a police car getting closer.

Applying the caution tape loosely around Virginia allowed us to create the illusion of it being "alive." Off-screen, I pulled on the tape, which created tension against her skin and made it appear as if it was crawling up her arms and neck.

For safety reasons, Virginia signaled to Isa and I when the tape was becoming too tight.

Creating the Instagram

Hi guys! I just toured a college, but I'm back now!

Today, I created the Instagram for my film's main source of promotion. The username is "underconstructionfilm," and on here I will be posting behind the scenes photos, revealing the cast, and raising further awareness to sexual assault. 

So far, I've followed some accounts that raise awareness to the film's cause, such as "feminist," "survivor.love.letter," and "niceforwhatmvmt." I also reposted niceforwhat's post about coping through a trauma anniversary. 

 Jammin' Out

Hey guys!

To better plan out how my music will work with the rest of my piece, I have made some videos that play the music alongside the script so I can ensure the actors speak at a good pacing.

Here's the party scene, which will be using Alessia Cara's "Sweet Dream" as the background song. I am still finding a song that will work for the therapist sequence.

Check Out Some Music Updates!

Music Updates!

Hey! Be sure to check out my previous post "'A Different Order Than Usual..." for some updates on my music choices! I got some good recommendations from my peers, and I'm excited for you to hear about them.

Here's the new list for possible music choices:

1. Lover's Rock - TV Girl

2. Pigeon - Cavetown

3. Sweet Dream - Alessia Cara

4. Dark Red - Steve Lacy

5. All Along the Watchtower - Jimi Hendrix

The Script (Gasp!)

 The Script

Hey everyone! I am pleased to say that I have completely finalized my script. Some very subtle changes might be made throughout the production process, but the idea is complete!

UNDER CONSTRUCTION

WRITTEN BY: SABRINA ARES

INT. THERAPIST’S OFFICE - DAY

MS. HAYES

The distance between us, is it okay?

LOLA nods.

MS. HAYES

Do you want me to move forward, back?

LOLA
No- no, you’re okay there.

MS. HAYES

Okay.

LOLA twiddles her thumbs, avoiding eye contact.

MS. HAYES sets her notepad aside, placing her blue pen down softly. 

MS. HAYES

Lola is a beautiful name.

LOLA (forcing a smile)

Thank you.

MS. HAYES leans forward, attempting to establish a connection. Her arms rest on her legs, her palms facing outward.

MS. HAYES

Do you have any nicknames?

LOLA

Umm..

EXT. OUTSIDE OF HOUSE - SUNSET

Lola is walking outside, making her way to her bicycle. She is talking on the phone.

LOLA

Yeah, I’ll meet you at the park soon.

She laughs.

LOLA

Quit being so impatient.

I’ll be there soon.

ELIJAH (waving)

Hey, Sunshine! How are you?

Lola waves back, smiling.

INT. THERAPIST’S OFFICE - DAY

MS. HAYES

Sunshine? That really suits you.

LOLA

I get that a lot.

MS. HAYES

I’m sure you do.

So tell me, Sunshine, where do we start?

EXT. PARK - NIGHT

There are closeups of the bicycle Sunshine was riding. Very quick snippets of her getting to the park that abruptly cuts to:

LOLA sits on the ground of the empty park. She clings to her knees. There are flashes between her clothed and covered in caution tape. 

Police sirens can be heard in the distance, and red/blue flashes of light begin to reflect from her skin.

MATCH CUT TO:

INT. CONFERENCE ROOM - NIGHT

A flash takes a photo of Lola. Her face is bruised and there is some leftover mascara underneath her eyes.

This photo is then pulled down to reveal Lola sitting in a conference room. 

OFFICER (off screen)

Did you recognize the person that did this to you?

Lola does not respond. She licks her lips, as if to prevent dryness.

OFFICER

Lola, we need you to answer our questions.

CLOSEUP of Lola’s face. She appears very uncomfortable, slouched in her seat.

CUT TO FLASHBACKS:

There is a backlit figure that represents REDACTED. His face is not shown.

Closeups of different parts of his figure are shown, such as legs, shoulders, shoes.

(AUDIO ENTERS FROM FOLLOWING SCENE)

OFFICER

She is not being compliant.

I don’t know what to do, she isn’t answering.

CLOSEUP of Lola shows her breathing heavily.

INT. THERAPIST’S OFFICE - DAY

Their clothing has changed. Time has passed since the last session.

MS. HAYES

There is only so much I can do, Sunshine.

I need you to talk to the police. It’s been a month now.

LOLA

I don’t know who he is.

MS. HAYES

That is not what you told me last week.

LOLA

…I don’t want to tell them.

MS. HAYES sighs, nodding. She picks up her notepad. There are some more notes on it now.

MS. HAYES

Are you still drinking?

INT. PARTY - NIGHT

Music blasts from the speakers. Disco lights flash against red solo cups.

SUNSHINE walks into the kitchen, looking over at a red solo cup on the counter. She hesitantly inches toward it, picking it up.

INT. THERAPIST’S OFFICE - DAY

LOLA

No, I quit a while ago.

MS. HAYES

That’s good.

You see, when someone goes through trauma, they may use
alcohol to self-medicate, which damages…

MS. HAYES’ voice drains out as the party scene returns.

INT. PARTY - NIGHT

SUNSHINE sits on the couch, sipping from the cup.

KJ falls back next to her, a cigarette in hand.

KJ

Hey, Sunshine.

What do you have in there?

SUNSHINE (chuckling)

Fireball, I think.

KJ

You know whiskey is for shots, right?

SUNSHINE’S eyes widen.

KJ

Solo cups are for beer.

SUNSHINE

Oh, yeah. I know.

She looks down at her cup.

SUNSHINE

I’m just trying to black out tonight.

KJ laughs.

KJ

YOU. Are crazy.

SUNSHINE

I know.

There is a short pause. Sunshine takes a sip.

KJ

So what’s going on with that like,

You know, the case.

Sunshine takes another sip.

KJ
Did the cops ever figure him out?

SUNSHINE

No, they haven’t yet.

KJ.

Damn.

I’d beat his ass if I could.

Sunshine nods exaggeratedly. 

SUNSHINE

Thanks.

KJ

All of this is just so crazy.

You know, I…

KJ’s voice drains out.

INT. THERAPIST’S OFFICE - DAY

Their clothing has changed. Time has passed since the last session.

MS. HAYES

I don’t normally suggest medication, but I think you should see a psychiatrist.

LOLA slouches into her seat.

MS. HAYES

There is only so much I can do if your biology is not in control.

LOLA

I don’t-

I don’t need medication.

MS. HAYES

There is nothing shameful about medicine.

It can really help you with your depression.

LOLA

Ms. Hayes, I-

INT. BATHROOM - NIGHT

PIGEON - CAVETOWN PLAYS

Lola stares intensely at herself in the mirror. Tears run down her cheeks.

Her hands shake against the counter.

The following scene flashes (match-cuts) between the park, the party, and the bathroom. They are in slow-motion.

The park snippets display Lola on the ground covered in tape. Close-ups show the caution tape as “alive,” writhing around her body like snakes.

The party scenes show her tumbling around the house party and taking sips from the solo cup. Another shot shows her emptily staring at the camera as she sits on the couch, slouched.

When it cuts back to the bathroom, her mascara is fully running down her face.

LOLA (mouthing)

Oh my god.

She begins to cry more intensely, sliding down the wall and hugging her knees once more.

The music fades out.

INT. THERAPIST’S OFFICE - DAY

MS. HAYES

Do you really think that you’re okay, Lola?

Lola’s face falls.

After a pause, she shakes her head no. Her lip quivers.

MS. HAYES

I know some very good psychiatrists.

Do you want me to write down their contacts for you?

Lola nods.

MS. HAYES

Okay.

INT. KITCHEN - DAY

Lola looks over at her medication. This shot mimics the one with the red solo cup.

She walks over, picking up the bottle.

She takes her medication.

INT. THERAPIST’S OFFICE - DAY

Their clothing has changed. Time has passed since the last session.

LOLA

I’m doing a lot better.

MS. HAYES

Oh, that’s so great to hear.

LOLA (nodding)

Yeah.

MS. HAYES

So tell me, what have you been up to?

EXT. STREET - DAY

LOVERS ROCK - TV GIRL plays

Sunshine can be heard laughing.

A skateboard appears on screen that she is riding on.

A montage plays of her and Elijah riding their skateboards, hanging out, laughing. They change outfits between some of these to show time passing.

ELIJAH

You’re a lot of fun.

LOLA (giggling)

Yeah?

Elijah has a cigarette in hand.

ELIJAH

Yeah, I like you sober.

Lola looks over at him, tilting her head.

ELIJAH

Yeah, I’m a big hypocrite. I know.

LOLA

We can stay sober together, you know.

ELIJAH

I think I’d like that.

Lola smiles.

INT. THERAPIST’S OFFICE - DAY

MS. HAYES

This Elijah sounds nice.

LOLA

Yeah, he really is.

MS. HAYES

I’m really proud of you, Lola.

LOLA

Yeah?

MS. HAYES

Yes, of course.

It’s so wonderful to see you building trust again.

Your improvement has been… astronomical.

Closeup of Lola’s expression. She nods.

LOLA

Thank you.

EXT. SIDE OF THE ROAD - SUNSET

A two shot displays Elijah and Lola sitting side by side, with distance between them.

ELIJAH

Hey, Lola?

LOLA

Mmm?

ELIJAH

That guy, you know, Redacted?

Lola looks at him.

ELIJAH

Who was it?

Lola freezes.

There is a pause.

ELIJAH

I’m sorry, I-

I thought you were ready.

Elijah reaches for her hand to comfort her, but she pulls away.

He looks awkwardly at the ground.

ELIJAH

Sorry. I’ll just-

I’ll wait in the car for you.

Elijah stands up and walks off, leaving Lola on her own.

LOLA (VO)

The truth is, I really don’t know how to recover.

I’m not sure if I’ve even improved at all.

A montage plays over her VO, displaying her crying in the bathroom, taking her medication, and laying down in the park.

LOLA (VO)

I feel like I’m always so close, but I just fall right back down. 

How do I admire the colors in the sky when I can see the sun falling beneath the horizon?

Lola sits on the ground in the park. Mascara runs down her face.

LOLA (VO)

How do I fix this now?

Closeup of her blinking.

LOLA (VO)

I think it’s about time I do it.