F.M.P (Production Log) by michaelafrifa

UNIVERSITY OF EAST LONDON Y E A R

S C H O O L O F A R T S & D I G I TA L I N D U S T R I E S . 3

M O V I N G

I M A G E

BRIEF 2.

MICA. For my final major project I have chosen to develop an initial idea I had thought of last year which I never followed through with. During my period at university I feel as if I have grown into a confident film maker which i why I have chosen to stick to a short film narrtive rather than an exprimental film or documentary. “Mica” initially developed as an idea from watching the E4 drama series Misfits as well as everyday life, living in East London. This shortfilm will reflect everyday life situations some people go through. Growing up in Bow, East London a lot of teenagers choose to leave home and go to hostiles and most of the time we don’t know what the actual problem or reason is. Why do some teenagers leave home to move into a boxroom? Most of the time we assume it’s due to the fact these teenagers want to feel more independent and so on and so forth. Although this may be true I’m pretty certain there are other reasons as to why people do this and this is what “Mica” is about. A young girl who’s mother died when she was only 16. Her father couldn’t deal with the death so ended up becoming an alcoholic. i want to take the audience on a journey through “Mica’s world” and how us as people are too absorbed in our own life and really judgemental.

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BRIEF 2.

MICA. Setting: 2013, London. Location: Whitechapel- Hostel bedroom, UeL Cyprus campus- Immersive space [Club], Bethnal Green - Kitchen Victoria Park [Park bench] Characters: Mica, Sebastien (Seb), Paul (P), Abby, Ricky, Henry, Sheila, Josh, Extras. Brief description of characters: Mica - Is a young woman aged between 19 - 22 years. She lived a pretty normal life until her mothers untimily death, which left her family home disfunctional. Her father became an alcoholic and went into foster care aged 16. She is really independent but carries alot of regrets and emotions within her. Seb - The boyfriend of Mica, he’s been her rock and support system from the start of her issues. Seb is very observant and makes calculated decisions before he acts. Paul - Is a father figure to Seb, they work together and we don’t really know much about him except that he’s recently been diagnoised with cancer. Abby - A friend of Mica, Abby doesn’t know when to just be chilled she’s very talkative and inquisitive. Mica always looks out for her as she has taken the role of big sister to Abby. Ricky - Has always had his eyes on Mica, He plans to spike her drink during a club party to have his way with her. Sheila - Is the head of the foster care home Mica grew up in. Sheila loves Mica like her own but recalls how they had their differences like any other parent and child relationship. -

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MICA By Michael Afrifa

INT. HOSTEL, BEDROOM: SATURDAY AFTERNOON. MICA 20, staring in the mirror that is placed on a makeshift dressing table covered with stickers and lipstick doodles. A box room, an unmade bed that she will never have to make again and a now empty wardrobe. A packed bag lies beside her feet and a box of bits and pieces that she has collected over time, posters, nicked ash trays and tacky hotel like ornaments, her life really, not much but its hers. In the mirror we only see her eyes as she puts on her mascara. MICA has bright eyes but there is a hint of sadness. CUT TO: EXT. PARK: SATURDAY AFTERNOON. SEB is sitting on the back of a park bench hunched over rolling a cigarette. In view, a van parks a small, and obviously wasted looking guy jumps out, we can immediately tell he is a bit dodgy. Its P he walks over to SEB and sits on the seat of the same bench. P I'm positive. SEB looks at him confused not quite sure of what he is talking about. The Cancer, Seb. SEB (This really hurts SEB; he struggles to find any words) Shit man. P knows that it's heavy news for him but he's looking at SEB he wants to know how his young friend is taking the news. P is like a father figure to SEB the only person that has stuck around even though he might have his own ulterior motives. Never the less P still cares for SEB and he can see this news is a massive shock to him. P (He takes a deep breath, swallows the frog in his throat and tries to change the mood.)

So, you coming to work today or what? (Beat) ...Not that I'm sure its worth it, you never get

nothing done anyway.

SEB (It’s not funny but SEB forces out a reserved chuckle knowing that P is trying to lighten the mood.) Nuh, I think I'm going to pull a sickie, [beat] my

boss is dickhead anyway.

They laugh and enjoy the joke. I will ring you later. Going meet Mica. She's

moving in. P

Oh, Go on, go and get your girl. I will be aright.

Go out and have fun.

SEB stares at him, sussing him out. Not quite sure if he’s being serious or not. Go on! You little shit. Then share a manly hug and go their separate ways. CUT TO: INT. HOSTEL, BEDROOM: SATURDAY AFTERNOON. There is a knock on MICA'S door, its ABBY. ABBY is Micas closest friend and very much like an annoying little sister even though they are the same age, she’s full of energy cute and loves attention. ABBY is an amazing friend to MICA; they know each other so well. ABBY Guess who!?

MICA carries on putting on her mascara and rolls her eyes. ABBY opens the door and takes in the room even though she hasn't had the permission to. ABBY (Stretching out her arms wanting a hug) Feels like I havenâ&#x20AC;&#x2122;t seen you in ages! ABBY notices her voice echoing in the empty room, and play fully exploring the empty draws and wardrobe. ABBY So... what side of the bed you going to sleep on? nasty undies! Urggh! Yous are gonner do it, like

ALL

(Chuckles) You know your going to have to wash his the time! I think... Ooo look!

ABBY sees an object on the floor that she grabs and thinks about keeping it for herself, but thinks better of it and shoves it at MICA You forgot this! MICA (MICA notices a fresh cut on ABBYS wrist and grabs her arm) For Fucks Sake Ab... ABBY (ABBY turns nasty all of a sudden; we sense a darker side to her) What? The two girls stare at each other in an intense mind reading way, they share a look of understanding. Today's the big day, eh?

MICA (Embraces ABBYS mood change) You coming tonight then? ABBY Well what do you think? ABBY starts to walk towards the door and picks up a bag from the box. Oh I'm going to borrow this by the way! The door shuts before MICA gets a chance to disagree. MICA notices someone outside, its SEB he waves and she grabs her stuff and heads out. She walks through the corridors of the hostel and down tons of stairs struggling with the awkward box and packed out bags. She reaches the reception and quickly tries to sign out before anyone sees her. VOICE So you were going to try and sneak off without

saying goodbye?

MICA looks up and it’s SHIELA. Busted. MICA doesn’t know what to say, there’s so much to say, and just a goodbye or thank you wouldn’t be enough. SHIELA It’s alright, no its alright just come here and MICA walks to SHIELA and hugs her.

give me a hug.

Mmm.. Mica darling. You and me haven’t always seen

eye to eye, yes we've had our fights and arguments

but I've always known that you were worth the cheek there’s a good, good person in there.

effort. That despite all the tricks and your

Listen, you don’t have to fight any more. SHIELA notices MICA nervously looking at SEB Just go out there. You’re in control of your life trusting in people. He’s a good lad. [Waves at SEB]

now. Only you can let yourself down. Just try come on now, I'm sure you have places to be eh?

They part, but MICA struggles to let go of SHIELAS hand.

CUT TO: INT. CLUB: SATURDAY NIGHT MICA and her friends are all out to party. MICA has been talking, slightly flirting with RICKY who's night this is, to make sure her and her group all get in. as they enter she looks back to see where SEB is but he hasn't arrived yet. INT. P’s HOUSE: SATURDAY NIGHT

JOSH is unloading a few boxes from the van parked outside the fro tog P’s house and goes in struggling to carry all of the stuff he has piled up in his arms, he forgets to close the door. SEB comes around the corner and up the drive to the house and walks in. SEB (Hanging up his jacket and looking at his phone) YO! Just thought I’d check in and see how you’re

doing. We need to talk about the future. I’m not

sure my heads in this anymore, especially with

Mica moving in and all that. Oh yeah and I applied

for… SEB notices that the door was actually already open. He checks the latch. It was open the whole time. And continues cautiously into the house. SEB pokes his head into a room, JOSH is sitting there with boxes and odd shaped packaged all around him, one is open and at his feet. A Russian doll but without its perfectly fitting replicas but replaced with a powder. JOSH dips his finger in and rubs it on his teeth and the rest into his gums. He can sense someone is there and turns to SEB. JOSH (Grinning) Alright mate? SEB bluntly smiles at JOSH and then furiously makes his way to find P. SEB bursts open the room, P has his back to him. SEB (Angry, disappointed)

What the hell you doing, have you seen this kid P…

Tasting all the gear!

P turns to SEB quickly trying to wipe of the cocaine form his face but misses a spot. SEB is taken back by what he’s seen. One thing you always said was to NEVER touch this

shit… and now here you all are.

SEB is too overwhelmed to carry on with the conversation and leaves. Making his way to MICAS party.

INT. CLUB: SATURDAY NIGHT. RICKY takes MICAS hand and is guiding her towards the VIP area, her friends follow. MICA, RICKY and friends arrive at a table or bar area and RICKY waves over a bottle of something sparkly opens it an insists on pouring MICAS drink first, a ploy so that he can slip something into her drink. SEB arrives just in time to witness this but is too far away to do anything before she downs it. CUT TO: The club is very crowded, party is in full swing MICA is on a table dancing and waving at friends, the centre of attention. As we focus onto MICA we notice that she is going from being happily inebriated to something else. The spiked drink is kicking in and her movement falters, she stumbles. The whole club starts to slow down into half time, we are seeing the club through MICAS eyes now. People in the crowd start to face MICA and dance at her as if she is performing and random characters start to turn in to cartoons, rough drawings with abstract

faces. Flashes of random light and images fill MICAS head. Everything is trippy, people are jumping up and down and then MICA stumbles for the second time, RICKY spots his chance to be the hero as he eagerly stops her from falling and is a bit too familiar with his hands. MICA, being so out of it goes to hug RICKY and he takes it as a signal to take things a step further and his hands head towards her arse. POV MICA: SEB catches RICKY before he gets the chance to grab MICAS bum by grabbing his hand and tries to drag him away from MICA. RICKY instinctively pushes him away before he realises who it is, but itâ&#x20AC;&#x2122;s to late for him to fix the situation because SEB is coming at him and it kicks off. CUT TO:

EXT. ALLY WAY: SATURDAY NIGHT. Rubbish bins from the club and the surrounding restaurants/shops. MICA stumbles over and breaks her fall on a bin. MICA leans and hangs from the bin, as she is sick. MICA has all of her weight on the bin. SEB Mica... During this SEB is grabbing MICAS arm out of frustration SEB MICA!

MICA pushes SEB away and he stumbles and falls over. SEB reaches up to MICA in order to help him up... MICA starts to go into trip sequence: Sharp images flash at us of the cartoon faces shots of tequila being drunk and the pill that made MICA

hallucinate walking

though the care home etc... CUT TO: INT. FLASHBACK 2003. KITCHEN: LATE AFTERNOON. The family home we enter the kitchen to see HENRY with his head on the kitchen table. Itâ&#x20AC;&#x2122;s grubby in need of a good clean. The table full of empty and half full beer cans some crunched up and some split. The ashtray is practically full of cig butts and zoot ends. MICA enters with school bag on shoulder and dumps it by the door. MICA (Calling out) Dad! No response MICA Dad!! MICA standing in the doorway of the kitchen and finds HENRY at the table she pauses for a moment and takes in the room. MICA Oh for fucks sake

HENRY (Grumbles) Don't use that language around me.

MICA C'mon we need to clear all this up. HENRY throws MICA a look of disapproval. MICA hand him his walking stick. HENRY snatches it from MICA. HENRY We? You get to walk in and out as you please and I

have to clean up your shit

MICA ...I've been to school every day this week, if you also notice that this SHIT isn't my mess, since

stayed sober long enough you'd notice! And you'd when did I drink beer!?

HENRY realises the mess that he has made. MICA stares furiously at HENRY HENRY (Angry) Don't you dare look at me like that... With your

mothers eyes!!!!

MICA Mum is dead! She's been dead for 7 years dad! HENRY (Getting wound up) Donâ&#x20AC;&#x2122;t talk about my wife like that MICA Mummy's gone, you need to move on.

HENRY SHUTUP! SHUT- UP! (Starts to beak away from his chair) MICA NO! HENRY gets up using his walking stick HENRY Come here you little... He's pissed and not as able to walk, he stumbles towards MICA in a rage and then looses his feet and falls to the ground. MICA is scared for a split second but then realises he's too pathetic to even hit her. HENRY reaches up for MICAS help. MICA stares at HENRY and realises if she does pick him up, she will be doing just that for the rest of HENRYS life.

CUT TO:

EXT. ALLY. SATURDAY NIGHT. MICA is backing of from SEB but then realises that he's not her dad and grabs his hand and helps him up. MICA and SEB have an embrace she hugs him as they find their way out of the ally.

UNIVERSITY OF EAST LONDON Y E A R

S C H O O L O F A R T S & D I G I TA L I N D U S T R I E S . 3

M O V I N G

I M A G E

BRIEF

TKAMLN Initially I was going to execute the projecr Mica, unfourtnately due to circumstances out of my hand I had no choice but to change my idead to “They Killed a Man Last Night”. TKAMLN is a poem written by UK, poet Lion Hart. The nature of the poem focuses on how easily a good guy in a relationship can be turned bad. In my first year I came up with and Idea called “Opposites Attract” which assited me in developing this idea for my final major project TKAMLN. Opposites attract was inspired by the musician Kendrick Lamar’s song O.A which narrates a story about a couple in difficuities as one does more for the other. “We hurt people that love us, love people that hurt us Hurt people that love us, love people” - taken from the first section of the chorus. The extract taken from the chorus always stuck out to me and this is why I felt the need to tackle this project as my FMP as TKAML has some similarities to the Kendrick Lamar track O.A. Lion Hart, has split personailities in this poem similar to the story of Dr Jekyll and Mr Hyde. His girl doesn’t appriciate the good in him and sweetness yet prefers it If she’s mistreated and talked down on. This poem raises awareness to both genders.

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BRIEF

TKAMLN They killed a man last night, And believe I watched it happen with a smile on my face. Put condoms of ignorance or my eyes I had shades made of durex, so even if I gave a FUCK about what I saw, I wouldn't of felt it as much. They killed a man last night and that was the nice guy I was before, sure they say give a man a foot and he'll take a yard but no one told me that give a girl your heart and she might take your life. I put girls on high heel pedestals, pedicure their insecurities and made sure their French tip feets weren't foreign. For instance I'll be the asthma pump to your breath taking smile. Provide for you as if you were my child, treat you better that my own mother, love you better than you've ever seen in any film Will Smith in Hitch ain't got Shit on me believe. If I had one wish, I'd wish that I could turn your ear drum into a clit, put my heart on my tongue and lick around your earlobes with words from my heart plays little Wayne's a Millie beat on your ear drum A milli, a milli silly me though. I was told nice guys finish last, bad guys make girls moans, good guys makes girls aww. But I didn't listen, thinking if I exist and you exist but that urinal mentality just left me taking the piss whilst shxt they were taking the piss. Well shxt I'm 24 and I ain't having no more. Ladies explain to me how if I FUCK you mentally those French knickers you're wearing don't really exist. Explain to me that how when I raise my voice you get aroased but when I'm nice I'm too nice. Only to find that men are the new bitches developed on the image called your face. See my attitude was being the guy, girls say they want without being desirable. I guess being the perfect match meant I was something they had to set fire to. So this time if it's right, this time if it's right I will love you like an hour glass full of your emotion. So when all of your emotions have fallen for me it may seem like I times run out it may seen like our glass is half empty until I put my half into it too. Time is love, I'm counting on it

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LOOKS

01 MADONNA-HELMUT NEWTON 02 EXTREME CLOSE UP- EYE 03 LOVE OF ABUSE - NAN GOLDIN 04 LONG SHOT- GOOGLE 05 FIGHT- GOOGLE 06 FLATS- GOOGLE 07 FEAR- LION HEART 08 MIDSHOT - LION HEART & LAURENA 09 TKAMLN - LAURENA PROVISIONAL LOOK IDEAS

BRIEF

RECKY SHOTS

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THEY KILLED A MAN LAST NIGHT SHOT LIST:

LH1 WAITING BY THE ICONIC MONUMENT LOOKING THROUGH PICTURES OF HIM AND HIS GIRLFRIEND….

TRACK SHOT OF LH1 WAITING LOOKING THROUGH HIS PHONE AS THE SHOT TRACKS WE SEE GF WALK IN SHOT, CAMERA MOVING IN WITH HER

WIDE SHOT OF LH1 WAITING, WE SEE GF WALK IN SHOT:

WIDE FROM A DIFFERENT ANGLE OF LH1 WAITING:

LH1 SEES GF WALKING TOWARDS HIM AS THEY GREET: WIDE SHOT WITH LH1 TO THE LEFT OF THE SCREEN WITH GF IN THE FOREGROUND WALKING TOWARDS HIM, LH1 AND GF WALK PAST CAMEO ‘ WHEN IM NICE …… LOW ANGLE SHOT FROM CAMEO POV WATCHING THE COUPLE WALK PAST CAMERA SHOT VARIES: WIDE SHOT LOW ANGLE, CLOSE UP OF COUPLE, HOLDING HANDS, KISSING.

COUPLE ARRIVE AT THE BENCH, AS THEY SIT AND ADMIRE THE VIEW LH1 TAKES GF HAND … SHOT VARIES BETWEEN A WIDE SHOT OF THE COUPLE SITTING ON THE BENCH AND CLOSE UPS, GETTING REALLY INTIMATE.

AARON WALKS PAST COUPLE. WE SEE A PAN AS HE WALKING IN SHOT AND TAKES NOTICE OF THE COUPLES AFFECTION. AGAIN SHOT VARIES.

GF WALKS STORMS OFF, LH1 CHASES HER: SHOT VARIES AS GF LEAVES THE SCENE. A LOT OF MOVEMENT WITHIN THE SHOT AS CAM FOLLOWS GF. CLOSE UP OF LH1 REACTING TO THE CONFUSION.

AS LH1 CHASES HER: GF WALKS PAST CAMEO, WALKS UP THE SLOPE. CAMERA SHOT VARIES: CLOSE UPS OF GF, MID SHOT WITH LH1 BEHIND TRYING TO GET HER ATTENTION. CAM FOLLOWS FROM BEHIND PAN SHOT AS LH1 CHASES GF

LH1 CATCHES UP TO HER… WIDE SHOT SUGGESTING SOMEONE IS WATCHING… SIDE SHOTS OF COUPLE ARGUING AGAIN SHOT VARIES DEPENDING ON MOVEMENT

POV SHOT AS LH1 FIGHTS FOR HIS LIFE, SHOT AGAIN VARIES BETWEEN CLOSE UPS AND WIDES. SHOT CHANGES DEPENDING ON MOVEMENT OF INDIVIDUAL GIVING IT A NATURAL FEEL AND EFFECT.

GF RUNNING AWAY PAST CAMEO LOW ANGLE SHOT RUNNING AWAY. CLOSE UP OF HER RUNNING AWAY NEAR THE PILLERS.

AS SHE FALLS AND HIDES WE GET SAME SHOTS AS PREVIOUS SHOOT. SHOT IN 50 FRAMES TO GET AN EFFECT OF EMOTION.

LH2 WHISPERS TOLD YOU… CLOSE UP OF LH1 EARS AS HE HEARS WHISPERS. VARIATION OF SHOTS SHOWING A SENSE OF FEAR AND CONFUSION…

LH2 STANDS ON TOP OF LH1… LOW ANGLE SHOT AND CLOSE UPS OF LH2…. AGAIN SHOTS ARE VARIED.

DEAD BODY – WE SEE AARON MUGGING LH1. CLOSE UPS ON MONEY PANING UP TO REVEAL AARON.

GF RUNNING TOWARDS THE BODY IN TEARS, SAME SHOTS AS PREVIOUS.. DEAD ISLAND TRAILER SHOTS SHOWS A SENSE OF TROUBLE, GUILT.

LH2 WATCHING LH1 DEAD IN GF ARMS.

WIDE SHOT OF LH2 WATCHING THE INCIDENT. CLOSES UPS OF GF EMOTIONS AND CLOSE UP OF DEAD BODY.. SHOTS ARE VARIED AND AS THE SHOOT PROGRESSES MORE IDEAS WILL COME UP.

BRIEF

TKAMLN - CALL SHEET CALL SHEET MANAGING DIRECTOR:

MICHAEL AFRIFA

PROJECT:

THEY KILLED A MAN LAST NIGHT

PRODUCTION NUMBER:

003

LOCATION: 1 SILK STREET LONDON EC2Y 8DS

BARBICAN CENTRE

SHOOT DAY:

SATURDAY 27th APRIL 2014

PRODUCTION MOBILES: PRODUCER: PROD MANAGER:

MICHAEL AFRIFA

MOB: 07939136749 MOB:

CALLTIMES: SATURDAY 27th APRIL 2014 BREAKFAST: RHAEL: LAURENA: AARON:

09:00 AM 09:30 AM 09:30 AM 10:00 AM

WRAP:

19:00 PM

UNIT:

Mobile

e-mail

DIRECTOR: PRODUCER:

MICHAEL AFRIFA “”

07939136749 “”

michael.afrifa@gmail.com “”

DOP: MAKE UP ARTIST:

MICHAEL AFRIFA TBC

07939136749

michael.afrifa@gmail.com

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BRIEF

TKAMLN - CALL SHEET IMPORTANT: 1. NO TAXIS OR BIKES WILL BE PAID FOR BY THE PRODUCTION COMPANY UNLESS ARRANGED THROUGH THE PRODUCER. 2. ALL PROPS/PURCHASES TO BE RETURNED TO THE PRODUCTION COMPANY AT THE END OF THESHOOT. 3. CONSUMPTION OF ALCOHOL AND/OR DRUGS DURING WORKING HOURS WILL RESULT IN IMMEDIATE DISMISSAL ACCIDENT & EMERGENCY: WEST SMITHFIELD LONDON EC1A 7BE 020 7377 7000 POLICE: THE CITY LONDON EC1V 7DP

ST BARTHOLOMEW'S HOSPITAL

112-114 GOSWELL ROAD

PLEASE NOTE: RE: LOSS OF OR DAMAGE TO PERSONAL POSSESSIONS INCLUDING BUT NOT LIMITED TO MOTOR VEHICLES MICHAEL AFRIFA (MA.) CANNOT ACCEPT ANY RESPONSIBILITY FOR LOSS OF OR DAMAGE TO ANY PERSONAL POSSESSIONS, INCLUDING BUT NOT LIMITED TO MOTOR VEHICLES, DURING THE PRODUCTION BEING THE PROPERTY OF OR LOANED TO A MEMBER OF THE PRODUCTION CREW, AGENCY PERSONNEL / RECORD COMPANY PERSONNEL, CLIENT OR ARTISTS, UNLESS SUCH PROPERTY IS ON LOAN TO OR HAS BEEN HIRED BY PRODUCTION.

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BRIEF

TKAMLN - CALL SHEET HEALTH & SAFETY: Accidents, illness or near misses: All accidents/illness must be reported immediately to the First Aid Officer or Paramedic where one has been appointed. The Producer/Production manager will complete a report of the incident. Never move an injured person unless they risk further injury by being left where they are. Safety On Set: Always ensure fire exits and doorways are kept free of obstruction to ensure safe entry/exit at all times. Any overhead equipment should be properly secured; cables on the ground matted and/or ramped with rubber covers. Ensure that fire equipment is readily accessible. Always take care when lifting or moving heavy objects, use mechanical lifting gear where it is available. In respect of filming from heights, wear a safety harness where available. No unit member is to operate equipment when suffering severe tiredness or stress. No alcohol or non-prescription drugs to be consumed during the working day. Any crew member who breaks this rule will be replaced by order of the producer. Ensure when working with paint or chemicals, that they are stored safely at all times. All gas cylinders and flammable materials should be stored in accordance with the appropriate safety regulations. All tools and equipment are to be in proper working order and used according to the manufacturers instructions with protective guards applied where necessary. All ladders to be properly stored and secured where possible. All electrical equipment to be properly maintained, tested and used in accordance with the manufacturers instructions No lights are to be placed near props, sets and other flammable materials or left burning unnecessarily. When working on or near roads be aware of all moving vehicles, ensure barriers are in place and reflective clothing worn.The Health & Safety Officer is the Producer or Production Manager, unless otherwise designated. The Producer is responsible for the safety of the shoot and may be held accountable in criminal or civil legal proceedings if found negligent. All HODs have a responsibility to ensure safe working practise in their departments and to advice the Producer of any potential risk to health & safety in order that remedial action can be taken in good time. DIRECTIONS: FROM MOORGATE STATION 1. Head north on Moorfields toward Moor Pl 2. Turn left onto New Union St 3. Turn right onto Moor Ln 4. Turn left onto Silk St

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UNIVERSITY OF EAST LONDON Y E A R

S C H O O L O F A R T S & D I G I TA L I N D U S T R I E S . 3

M O V I N G

I M A G E