It’s almost time to film my scene. Production begins and ends on Thursday. I’ve finally cast actors, gotten props, and I have a shot list.
As I mentioned before, the scene comes from a longer feature film idea that we were asked to come up with a few weeks ago. Mine is called “Cuddlefish,” about a professional cuddler who falls in love with one of her clients, but she’s asexual, so she doesn’t want the relationship to go beyond cuddling (and kissing) (and romance.) The scene I chose from this idea is when her client confesses that he likes her and wants to be in a relationship with her, and she’s conflicted because she likes him too, but she isn’t sure she can give him what he wants.
Explaining the scene, because it’s out of context, is one of the most important parts of producing it. I need to get the romantic comedy tone across, but I also need there to be an understanding of exactly why the scene plays out as it does, why my professional cuddler is so hesitant when she’s told by the guy she likes that he likes her back. I think that’s been the hardest part of the whole process, making sure that the context and tone are clear and transferring that to film. Hopefully it works.
The second hardest part is actual set design. Over the past two weeks, I’ve struggled with how I’m going to build a bedroom set that looks like it could be the room of a professional cuddler within the confines of the film school. The room I’m booked to shoot in looks a bit like a cross between a basement and an industrial kind of place, and has art supplies in it including one huge blue canvas. The door is also in a really odd place.
To add to the problem, the double bed from the props department I planned to use is already being used on my shooting day, so I’m using a hospital bed (single) and making it look like a bed that a professional cuddler might have in their bedroom. It’s going to involve a lot of pillows and blankets and honestly it won’t look like what I thought about in my head, or anything remotely close to it. But for the purposes of this scene, hopefully it isn’t too distracting. I think a lot of it hinges on performances, so if the bed looks a bit suspicious, well, hopefully clever camera angles can take attention away from that.
The last problem is directing. I’m not a director, and I’ve never really directed in any sort of official capacity before. It’s a lot of decision making and controlling and knowing what you’re talking about, and having written the thing, it’s also an exercise in learning what works on the page and what doesn’t need to be in the film (things like small stage directions, for example.) You’d be surprised at how many things in a script, even a good one, don’t need to be in the film. The past week has involved learning that directors look at scripts differently than writers, so playing the part of a writer-director is weird because, at least for me, I’ve never fully been in one mode or the other. They bleed through to each other.
Other things I’ve had to learn include camera coverage, health & safety (there was a risk assessment), working with actors, film set protocol, and producing practices. Yesterday, when filming someone else’s shoot, I got a crash course in being an assistant director and on using clapper boards. It’s a lot to take in, and there’s definitely a lot of learning while doing. And the set should be relaxed, which is hard when you don’t know what you’re doing and you’re secretly panicking and there’s so many choices.
Somehow, so far, the sets have been pretty relaxed.
I just hope the shoot on Thursday goes smoothly. I hope that the set looks like a bedroom tomorrow when I’m done with it. I hope nothing sudden happens that’ll throw a wrench in the works.
The good thing about being on the screenwriting course is that, if I want, this is the first and last time I’ll have to do any of this film production stuff.
We’ll see how it goes.