Welcome to the wild and chaotic; however still organised and carefully-planned amalgamation of pre-production preparations for 'Seb and Isaac's Extraordinary Adventure', aimed towards a Newlands College Noscars audience.
On this page, find below our concept, character descriptions and practicalities table.
CONCEPT:
Logline:
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Two friends crusade through time, in the hopes of reuniting with their past-selves, undergoing a plethora of wild antics on the way.
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Plot:
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Two friends appear in the middle of the desert with no recollection of how they got there. They get a ride an old man in exchange for cleaning his shack. Discovering an old box full of time travel devices the friends decide to attempt to relive their child hood dreams of time travel. In 2016 the friends decided that if they were to ever get time travel they would come back to this moment and see themselves. The old man express the danger of the device saying that it is broken and how if they see their past selves they will get destroyed. The two get trapped hopping from timeline to timeline, seeing their past selves and other events throughout time. They finally get to 2016 but before they can see their past selves the device malfunctions and spits them back out into the desert, wiping their memory and setting themselves back to where they were.
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Characters:
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Isaac: An exaggerated version of his real life self. Isaac is a 18y/o ex-high school student, and though he is technically an adult, he tends to act impulsively, is easily confused and excited; both at the wrong times; and is acclaimed for having the brain of a four-year-old.
Seb: Also, a parody of his real-life self. Seb also is 18, has just finished high school, and is not necessarily the smarter of the two (intelligence is not a present characteristic for either of them); though is certainly wiser and more mature-seeming, for the most part. Old Man Jenkins: Introduced as an old, rather pervy and precarious hitchhike-ride-giver; this character comes to serve as the mentor-archetype-stock-character in the story; providing the duo with time-traveling-devices; propelling Seb and Isaac's potential to achieve their life-long dream. OMJ develops to show his more intelligent-scientist side; until he demonstrates exactly what not to do with time traveling devices. |
PRACTICALITIES TABLE:
Cast/Crew - availability:
How it May Affect A Production:
Films with large casts and crew members will have the problem in getting everyone they need for shooting any scenes. People will have things on and other things that they need to do. Scenes that need to be filmed will get pushed back till either they are filmed with a quick redo of the script or not filmed at all.
Strategies to Overcome:
For our film this isn’t a problem at all. Within the entire film there are a total of 3 main characters and only 2 that see the film through. For the story our characters are being played by us, so we will only ever need the two of us to film any scenes and if we need a third person to hold the camera we will only need to contact one other person. For our other actor we will need to revolve around their schedule. We can organize a time in the future to film all their scenes and before then just film other scenes that we can that don’t involve the other actor.
Time constraints:
How it May Affect A Production:
Ultimately time constraints depend on how much prep is done beforehand. If storyboards are made and plans on what to do with the day are made then filming will run a lot smother. If time isn’t made to prep before shooting then filming will be a lot more hectic and less time to focus on shots. Too much prep could lead to running out of time to actually film any scenes.
Strategies to Overcome:
We have this as a problem for our film. While we have filmed some scenes due to the time travel aspects, we still want to work on our script so everything is the best it can possibly be. So we may spend more time than we need to make sure every joke is funny and that the story makes sense. We may also spend too much time making sure every shot is absolutely perfect
Money constraints:
How it May Affect A Production:
Various scenes and settings within our film call for rather elaborate set pieces, mise-en-scene elements, props, travelling to locations, etc will have some minor financial implications. It may be difficult to reuse/repurpose a prop/setting piece if it is required and locked in association to a particular scene or setting. The costuming within our film derives from that of 80s sci-fi/time travel films, and so may imply a monetary demand if these cannot be sourced cheaply (i.e. “Mom, where are your demin apple-bottoms? I need em!” “Sorry son, lost them one night at an 80s roller-disco” “Darn”)
Strategies to Overcome:
Before considering purchasing potentially quite expensive items, we will make to utilize the sources immediately surrounding us. E.g. we’ll need a time-travelling device as a prop. Before purchasing an ‘authentic 100% genuine gold-mystery time travel device’; we’ll consider the school’s prop department, consider borrowing this prop from a film-obsessed friend, or simply: make one ourselves from materials at home/an opshop, etc. Alternatively, after searching for cheaper substitutes (borrow, D.I.Y create), we’ll consider the removal of the item or a substitution of said required prop, etc. We will teleport to expensive locations, to avoid the transport costs (i.e. public transport is reasonably cheap in NZ, so we’ll save wisely and splurge).
Locations - availability/ accessibility:
How it May Affect A Production:
Many settings within our film specify rather sensational and spectacular scenery - e.g. The Rangipo desert; desolate, flat but still magnificent with Mount Ruapehu in the background. These certain settings may be rather difficult to access, take a while to travel to, and may have certain area restrictions / legal filming limitations. Some interior settings (i.e. within our film: the Newlands College classrooms), may be difficult to book/have available at the suitable times.
Strategies to Overcome:
Before a shoot day, we will confirm and double-confirm with all actors they are available (no last minute cop outs), have transport arranged and can access the shooting site with reasonable ease/without major inconvenience. Careful research will be conducted on the weeks leading up to the shoot dates, regarding public accessibility + shooting restrictions (i.e. certain areas within the Rangipo desert are off-limits to public access) and shooting legality (i.e. no license/permissions are required to in the Rangipo desert). We will ensure locations are booked well in advance to ensure their availability, and will liaise certain details/time required with the person(s) allowing us the space (if need be).
Weather:
How it May Affect A Production:
Weather, regardless of location, can be quite unpredictable (sorry weather casters, but our trust in you in always partially-dubious at best). From long-ago past shooting experiences, (i.e. year 10-made films, created strictly as a duo; cos we had no friends) we have often disregarded planning for weather. We hope for the best and film regardless of the pouring rain, the blocked light, the howling wind-severely clipping microphone levels, etc. However, in consideration of our working with actors (other than ourselves), and under the condition of the film’s assessment (i.e. made for a Noscars audience), the continuity of light levels and the presence of rain/wind will present a great potential threat to the resultant quality of some scenes.
Strategies to Overcome:
Well in advance of the shooting day, we will check the forecasted weather and ensure all actors bring appropriate attire in the event the weather does turn awry. Before confirming a day of shooting, and before the rearrangement of a shooting day, we will confirm with our actors, to ensure no inconvenience/miscommunications are made. Depending on the severity of bad weather (in the case weather does turn on a shoot day), we may cancel the shoot and reschedule.
Equipment - camera, editing:
How it May Affect A Production:
Some shoot locations may entail rough, slippery, wet or otherwise precarious grounding (i.e. the Rangipo desert grounding, beyond the roadside, has extremely uneven grounding with trenches, swamps of water, etc.) - this presents the concern of keeping camera equipment safe, clean and functioning properly. We have a small concern of loosing small camera/misplacing accessories on shoot days, as there are a few of them to keep a track of (memory cards, lenses, lense caps, microphone + accessories, etc). Additionally implications lie within low camera batteries, if they are not charged in advance.
Strategies to Overcome:
We will be sure to take extra care with our equipment on each shoot day and avoid dangerous locations (and/or will use Seb’s home Canon 600D camera in those circumstances). Before and after each shoot day, we will create an inventory checklist to keep track of our gear throughout the day. Batteries will be charged to full capacity for each shoot day, and will be checked they are taken within us before travelling to each location-in order to avoid the delaying of a shoot or the interruption of a take.
Safety - physical safety:
How it May Affect A Production:
Some locations and settings may be rather dangerous for actors to be filmed in/for us to be filming them in (remote locations w/ cell service, slippery grounds, etc). Some shooting days may also unexpectedly rise or fall in temperature, which may be troublesome for actors.
Strategies to Overcome:
We will be sure to take caution in filming rather ambitious/precarious scenes when shooting in any high-risk locations. Extra care will be taken when setting a for the filming of a scene, and/or a relocation may be implemented if need be. We will make sure to bring adequate food, water, sun protection, a cell phone and basic first aid on each set day
Representation:
How it May Affect A Production:
We have small concerns regarding the representation of our actors, as, within our comedy-wacky adventure-genre film, some characters, and thus actors, will likely appear rather eccentric, wild and simply, strange.
Additionally, our film will feature some Newlands College teachers playing abnormal characters, and so, members of the Noscars audience may perceive the ‘lives’ of these characters to be parallel/in someway mirroring those of the real-life actors.
Strategies to Overcome:
We believe, when considering the extent of absurdity these actors are performing to, and because such our weird/wacky comedy genre allows for a judgement/assumption-free acting zone (i.e. it is greatly likely the audience will tell the film is not portraying a reality, but a exaggerated parody of one), our concerns regarding representation, and any of those our actors may have, are reassured.
Cast/Crew - availability:
How it May Affect A Production:
Films with large casts and crew members will have the problem in getting everyone they need for shooting any scenes. People will have things on and other things that they need to do. Scenes that need to be filmed will get pushed back till either they are filmed with a quick redo of the script or not filmed at all.
Strategies to Overcome:
For our film this isn’t a problem at all. Within the entire film there are a total of 3 main characters and only 2 that see the film through. For the story our characters are being played by us, so we will only ever need the two of us to film any scenes and if we need a third person to hold the camera we will only need to contact one other person. For our other actor we will need to revolve around their schedule. We can organize a time in the future to film all their scenes and before then just film other scenes that we can that don’t involve the other actor.
Time constraints:
How it May Affect A Production:
Ultimately time constraints depend on how much prep is done beforehand. If storyboards are made and plans on what to do with the day are made then filming will run a lot smother. If time isn’t made to prep before shooting then filming will be a lot more hectic and less time to focus on shots. Too much prep could lead to running out of time to actually film any scenes.
Strategies to Overcome:
We have this as a problem for our film. While we have filmed some scenes due to the time travel aspects, we still want to work on our script so everything is the best it can possibly be. So we may spend more time than we need to make sure every joke is funny and that the story makes sense. We may also spend too much time making sure every shot is absolutely perfect
Money constraints:
How it May Affect A Production:
Various scenes and settings within our film call for rather elaborate set pieces, mise-en-scene elements, props, travelling to locations, etc will have some minor financial implications. It may be difficult to reuse/repurpose a prop/setting piece if it is required and locked in association to a particular scene or setting. The costuming within our film derives from that of 80s sci-fi/time travel films, and so may imply a monetary demand if these cannot be sourced cheaply (i.e. “Mom, where are your demin apple-bottoms? I need em!” “Sorry son, lost them one night at an 80s roller-disco” “Darn”)
Strategies to Overcome:
Before considering purchasing potentially quite expensive items, we will make to utilize the sources immediately surrounding us. E.g. we’ll need a time-travelling device as a prop. Before purchasing an ‘authentic 100% genuine gold-mystery time travel device’; we’ll consider the school’s prop department, consider borrowing this prop from a film-obsessed friend, or simply: make one ourselves from materials at home/an opshop, etc. Alternatively, after searching for cheaper substitutes (borrow, D.I.Y create), we’ll consider the removal of the item or a substitution of said required prop, etc. We will teleport to expensive locations, to avoid the transport costs (i.e. public transport is reasonably cheap in NZ, so we’ll save wisely and splurge).
Locations - availability/ accessibility:
How it May Affect A Production:
Many settings within our film specify rather sensational and spectacular scenery - e.g. The Rangipo desert; desolate, flat but still magnificent with Mount Ruapehu in the background. These certain settings may be rather difficult to access, take a while to travel to, and may have certain area restrictions / legal filming limitations. Some interior settings (i.e. within our film: the Newlands College classrooms), may be difficult to book/have available at the suitable times.
Strategies to Overcome:
Before a shoot day, we will confirm and double-confirm with all actors they are available (no last minute cop outs), have transport arranged and can access the shooting site with reasonable ease/without major inconvenience. Careful research will be conducted on the weeks leading up to the shoot dates, regarding public accessibility + shooting restrictions (i.e. certain areas within the Rangipo desert are off-limits to public access) and shooting legality (i.e. no license/permissions are required to in the Rangipo desert). We will ensure locations are booked well in advance to ensure their availability, and will liaise certain details/time required with the person(s) allowing us the space (if need be).
Weather:
How it May Affect A Production:
Weather, regardless of location, can be quite unpredictable (sorry weather casters, but our trust in you in always partially-dubious at best). From long-ago past shooting experiences, (i.e. year 10-made films, created strictly as a duo; cos we had no friends) we have often disregarded planning for weather. We hope for the best and film regardless of the pouring rain, the blocked light, the howling wind-severely clipping microphone levels, etc. However, in consideration of our working with actors (other than ourselves), and under the condition of the film’s assessment (i.e. made for a Noscars audience), the continuity of light levels and the presence of rain/wind will present a great potential threat to the resultant quality of some scenes.
Strategies to Overcome:
Well in advance of the shooting day, we will check the forecasted weather and ensure all actors bring appropriate attire in the event the weather does turn awry. Before confirming a day of shooting, and before the rearrangement of a shooting day, we will confirm with our actors, to ensure no inconvenience/miscommunications are made. Depending on the severity of bad weather (in the case weather does turn on a shoot day), we may cancel the shoot and reschedule.
Equipment - camera, editing:
How it May Affect A Production:
Some shoot locations may entail rough, slippery, wet or otherwise precarious grounding (i.e. the Rangipo desert grounding, beyond the roadside, has extremely uneven grounding with trenches, swamps of water, etc.) - this presents the concern of keeping camera equipment safe, clean and functioning properly. We have a small concern of loosing small camera/misplacing accessories on shoot days, as there are a few of them to keep a track of (memory cards, lenses, lense caps, microphone + accessories, etc). Additionally implications lie within low camera batteries, if they are not charged in advance.
Strategies to Overcome:
We will be sure to take extra care with our equipment on each shoot day and avoid dangerous locations (and/or will use Seb’s home Canon 600D camera in those circumstances). Before and after each shoot day, we will create an inventory checklist to keep track of our gear throughout the day. Batteries will be charged to full capacity for each shoot day, and will be checked they are taken within us before travelling to each location-in order to avoid the delaying of a shoot or the interruption of a take.
Safety - physical safety:
How it May Affect A Production:
Some locations and settings may be rather dangerous for actors to be filmed in/for us to be filming them in (remote locations w/ cell service, slippery grounds, etc). Some shooting days may also unexpectedly rise or fall in temperature, which may be troublesome for actors.
Strategies to Overcome:
We will be sure to take caution in filming rather ambitious/precarious scenes when shooting in any high-risk locations. Extra care will be taken when setting a for the filming of a scene, and/or a relocation may be implemented if need be. We will make sure to bring adequate food, water, sun protection, a cell phone and basic first aid on each set day
Representation:
How it May Affect A Production:
We have small concerns regarding the representation of our actors, as, within our comedy-wacky adventure-genre film, some characters, and thus actors, will likely appear rather eccentric, wild and simply, strange.
Additionally, our film will feature some Newlands College teachers playing abnormal characters, and so, members of the Noscars audience may perceive the ‘lives’ of these characters to be parallel/in someway mirroring those of the real-life actors.
Strategies to Overcome:
We believe, when considering the extent of absurdity these actors are performing to, and because such our weird/wacky comedy genre allows for a judgement/assumption-free acting zone (i.e. it is greatly likely the audience will tell the film is not portraying a reality, but a exaggerated parody of one), our concerns regarding representation, and any of those our actors may have, are reassured.
Critical Literacy Questions:
The audience is certain to realise this, as it is referred to through via intertextual motifs/themes (i.e. Old Man Jenkins = Doc from Back to the Future; the featuring of archetypal time-travel props & settings, as well as being directly explored via the conversation of the main characters.
The several different settings within the film highlight the pacing of events within the plot (i.e. the two protagonists are lost and stranded - dessert road, via the mentor character, the pair are granted the ability to time-travel - dusty shack, the two transverse across a time-warp - various settings - the two reunite with their past selves - school, the two and lost and stranded - dessert road).
- What is this text about? How do we know?
The audience is certain to realise this, as it is referred to through via intertextual motifs/themes (i.e. Old Man Jenkins = Doc from Back to the Future; the featuring of archetypal time-travel props & settings, as well as being directly explored via the conversation of the main characters.
- What are the structures and features of the text?
The several different settings within the film highlight the pacing of events within the plot (i.e. the two protagonists are lost and stranded - dessert road, via the mentor character, the pair are granted the ability to time-travel - dusty shack, the two transverse across a time-warp - various settings - the two reunite with their past selves - school, the two and lost and stranded - dessert road).
- What kind of language is used in the text?
- Who viewers are excluded or privileged in the text?
- How are the real-life actors being represented?