The April 25th session involves conversation and improvisatory film work. The project ‘veterans’ of last year advocate simplicity and sticking to the brief: they’re aware of limitations, expectations and possible recriminations. One comment from Daniel went: “France want to see the shots” rather than any Hollywood style grand narrative. Sam reminds everyone about keeping the film dialogue-light and the ideas flowing through action rather than words.
To provide a premise for their improvisations, Chris tries to elicit a situation of conflict (that must take place in a constrained space) from the boys’ own experience or at least one that would be likely to emerge from their own world. Getting beyond footie arguments, it’s a struggle to get the boys thinking about a situation that would provoke a real emotional response. Suggestions are to do with: immigration status; physical appearance; racism; intelligence and relationship issues. Some suggest extreme plot lines but they’re less favoured because it’s much more difficult to do those well and produce quality work.
One group film their improv on a mobile phone provoking comment on the ways in which the camera can be used as a weapon. This is perhaps more the case with mobiles as is evident in the photos above: there’s a sense in which the film makers use the mobile to directly confront and/or move amongst the subjects in a way that might not so readily have suggested itself using regular camcorders. Let’s see if these kinds of pov shots find their way into the film.
Resultant improvised clips are viewed and critiqued for ways of making mise-en-scène more richly woven into the action to evoke for example – furtiveness, transgression, menace, uneasiness. Practicing, playing with and experiencing the theme in this way will drive ideas for the final film, the premise for which is still under discussion but may include a gay subtext. The London Eye has been suggested as a potential location for the 2 required scenes in a constrained space (same location for the 2 scenes but with a different mise-en-scène).