The Letters

Billy's Letter

We felt that the letter we wrote for Billy to send to Elizabeth was over-exaggerated in the language that we used.  When read aloud, it sounded forced and feminine for a male to read.  We felt that further research into letters written by men of the time would  give us more knowledge of the language used, and the tone of the letters men would send their lover/wife.

"Sweet incomparable Elizabeth, what a strange effect you have on my heart! I look back, and in every one point, every word and gesture, every letter, every silence, you have been entirely perfect to me, I would not change one word, one look. 

God knows I wish you happy, & when I quit you, or rather when you from a sense of duty to your husband & mother quit me, you shall acknowledge the truth of what I again promise & vow, that no other in word or deed shall ever hold the place in my affection which is & shall be most sacred to you, till I am nothing.  

 You know I would with pleasure give up all here & all beyond the grave for you.  I was and am yours, freely & most entirely, to obey, to honour, love & fly with you when, where, & how you yourself might. 

Forever, Your Billy"

Elizabeth's Letter (Won't appear in film)

After writing Billy's letter, I decided to look at letters written by women of the period we are closely researching, and who had especially experienced the same emotions that we want Elizabeth (Devotion) to go through during the film.  I did this to research into true emotions of the period, and to develop the my writing style so that it fits into the genre and period of the film.

"My dearest Billy,  I write to tell you that my brother, Robert,  is at least a little better this morning. We had a long conversation yesterday that has helped him to come to terms with his grief.  He knows that I wish for a divorce.  Yet, he is still reluctant to give us his blessing.

Robert has asked if you will visit us soon. He wishes to meet you, dearest, and he is very much on our side. I know that my brother would stand by us if we chose to leave England together.   If you are certain that you feel able to leave everything behind and seek a new life together please come to me here soon.

Robert has urged me to do what will bring me happiness in life and I believe that I can never be happy without you. However, I could not leave my brother until he is able to cope for himself. I know you have been patient with me and I beg you to remain so until we can take our happiness at last.

Your own Elizabeth"

Consideration of Foley Sound

What is 'Foley Sound'?

Definition:  'Foley sounds' are used to complement or replace the sounds recorded on set.  They are recorded live, post production, and added to enhance the quality of the footage. 

Foley Sound Research:

How could I use Foley Sound in 'Devotion'?

When we filmed Billy walking through the countryside, tractors were working in a near by field.  This, obviously, would not fit in with the chosen period.  We will therefore need to recreate the sounds of wind, footsteps and bird sounds in these scenes.  

Also, when we filmed the delivery of the letter to the maid, our chosen location was by a car park.  We will need to re-create the sound for these scenes too.  It will mainly be birds and wind once again, giving the feel of a country village.  

Sound Analysis

Sound Analysis

When we researched sound, we focused on the music made within the period, and how modern composers are influenced by the period.  We found that the typical instruments used within the music were softly played, and created a romantic atmosphere.  The instruments included piano, strings (e.g. violins), flutes, and other soft sounding instruments which are often used within this themed music.

Pride and Prejudice

We were influenced by this piece of music in particular.  We liked the way it started quietly, and then gradually built, and then decreased again.  We felt this went well with the structure of our film.  When we create our music, we will want to re-create the emotions created from this piece of music.

Elizabeth: The Golden Age

We felt that this piece of music did not have the build in rhythm like the previous piece of music.  However, it is greatly influence by a piece of music from the time, and shows the influence of the period on the composer (Craig Armstrong and A.R. Rahman).  It also shows the typical instruments used within period drama music. 

Timeline of credits

Timeline of Credits

Below is the timeline showing how the credits will appear in our opening sequence.  We have decided to use the image from my previous post (Ideas for titles), where the landscape of Goodnestone is in a drawn effect, and have the titles appear in a hand written font to tie in with the theme of the film.

Plan for Filming

Plan for Filming

Friday 28th January 2011

12:15-1:15 - In this hour we hope to record the narration for the letter scene. We will do this in the recording studio at Sandwich Technology. 
(We were unable to film this day because our actor was not in school)

Wednesday 2nd February 2011
1:30-2:30 - We hope to record the voice over for the letter sequence.
(We were unable to record in our recording studio today because of the noise from the drum lessons in the next room.)

Saturday 12th March 2011


12:30 - 2:30pm - We hope to film the scene between the maid and Billy during this time.

Monday 14th March 2011

10 - 11am - We hope to record the dialogue between the maid and Billy, due to the amount of background sound we picked up from the location.
1:15 - 2:30pm - We hope to film shots that we missed from the maid's scene, and start filming Billy's journey to the house.
2:30 - 3:30pm - We aim to start filming the close up shots of Elizabeth in this time.  We can only focus on this character because our other actor is not available.

Tuesday 15th March 2011


2:30 - 3:30pm - We hope to continue shooting the flashback scenes within this time.

Costume

Billy Walters

Billy's costume will consist of beige trousers, a white, regency styled shirt, and a brown short jacket.  We have decided to use brown colours, to show his background as a farm boy, and to imply warmth and the safety of home for Elizabeth. 

Instead of the brown jacket, we decided that this brown waistcoat would suit the period of the film more.  We wanted to imply Billy's farm background, but we also wanted to suggest that he is continually trying to impress Elizabeth throughout the film. 

Maid

The maid's costume looks simply, and plain.  This is to suggest her status within society.  Her costume consists of a plain black t-shirt, a dark brown apron, a brown skirt, and a mop hat.

Elizabeth

Elizabeth's costume needed to portray her higher class.  We dressed her in a black dress, with a white, decorative lace collar, which was joined with a black jewel.  The sleeves had lace cuffs to add a more expensive feel to the costume.  

How will I use my research in my production?

From the research I have carried out while studying period drama, I have discovered the conventions of period drama including the stereotypical characters, the elaborate locations and sets and the type of music that appears within such productions.

We plan to use these conventions within 'Devotion', yet make it appealing for a modern audience.  I will do this by using styled shots and editing that will make the film engaging and interesting to watch.  Quick cuts and stylish colour schemes, and shots such as the tracking shot through the house of the Bennet's in 'Pride and Prejudice' (2005).  I plan to make each shot like a picture, similar to the Director, Tim Burton.  I have watched much of his work, and feel that each of the shots he produces look like  piece of art.   From watching the opening sequence of 'Pride and Prejudice' (2005)  I feel that the same theory is used, and have the same effect on the audience.  I feel this is effective in engaging a modern audience visually.



(Tim Burton's Alice in Wonderland [2010]:  I feel this clip is a great example of how Tim Burton works.  Each shot is visually engaging, because of the use of extravagant colours.)

Storyboard

Character Development

Character Development

Billy Walters:


(Image)

Billy is a young farm boy, who is a helpless romantic.  He falls in love with Elizabeth, and continues to write letters to her throughout the film.  She does not reply to any of his letters.  As an audience we know that the staff of Goodnestone Park, and Elizabeth's husband are keeping each letter from her.  However, Billy cannot understand why she will not reply, and his constant paranoia will change him as a person.

He has light brown hair, that is scruffy and out of place.  He will wear a white baggy shirt, with a working, brown jacket.  This colour is a warm, country colour, and will emphasis the fact the characters background.  He will wear riding boots and trousers, which would have been the correct equipment to use whilst riding a horse.

Maid:


(Image)

Billy delivers his letters on of the maid's at Goodnestone Park.  Elizabeth trusts this maid above all others, and so Billy trusts the maid to deliver his letters to Elizabeth.  However, Jeffories (Elizabeth's husband) has instructed all his staff to dispose of the letters Billy sends.  In the opening sequence, the maid lets the letter blow away from the house.  This introduces the fact that the staff cannot be trusted.

The maid will wear a brown, ankle long skirt.  Plain black, working shoes.  A black shirt, with a dark brown apron.  She will wear a bonnet, which will keep her long brown hair away from her face.  She will wear a shawl to protect her from the cold.

Age Ratings

Age Ratings

U - It is hard to predict what may upset a child.  But a ‘U’ film should be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.

PG - General viewing, but some scenes may be unsuitable for young children.  Unaccompanied children of any age may watch.  A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children.

12A + 12 - Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.

The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.

The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.

15 - No-one younger than 15 may see a ‘15’ film in a cinema. No-one younger than 15 may rent or buy a ‘15’ rated video work.

18 - No-one younger than 18 may see an ‘18’ film in a cinema. No-one younger than 18 may rent or buy an ‘18’ rated video work.

After researching my chosen genre, I have seen that most ratings for period dramas are PG or 12.  We have decided that the content within U and PG are suitable for our production.

Script

Letter Sequence

Black screen fades up in a circle to show the candle, and continues to expand until we see the full screen

CLOSE UP OF CANDLE. COMPLETE DARKNESS AROUND - CAMERA ZOOMS OUT AND TILTS DOWN ONTO BILLY WRITING A LETTER TO ELIZABETH - Narrative of what BILLY is writing.

BILLY

"Sweet incomparable Elizabeth,"

 

WHEN QUIL GOES IN THE INKWELL, CAMERA FOLLOWS BILLY's ARM AND ZOOMS OUT TO SHOW A MID SHOT OF LETTER FROM BEHIND BILLY'S SHOULDERS.

BILLY

" what a strange effect you have on my heart! I look back, and in every one point, every word and gesture, every letter, every silence, you have been entirely perfect to me, I would not change one word, one look."

 

MEDIUM CLOSE UP OF BILLY'S FACE.

"God knows I wish you happy, & when I quit you, or rather when you from a sense of duty to your husband & mother quit me, you shall acknowledge the truth of what I again promise & vow, that no other in word or deed shall ever hold the place in my affection which is & shall be most sacred to you, till I am nothing."

 

CUTS TO A TRACKING SHOT. CAMERA IS IN FRONT OF BILLY'S DESK. CAMERA PULLS SLOWLY BACK TO A LONG SHOT.

BILLY

 "You know I would with pleasure give up all here & all beyond the grave for you.  I was and am yours, freely & most entirely, to obey, to honour, love & fly with you when, where, & how you yourself might. 

 

Forever, Your Billy"

BILLY picks up the letter, seals it with wax and goes to leave.

CLOSE UP of BILLY blowing out the desk candle.

TITLE SEQUENCE

Camera is showing a light grey sky.  The Camera then TILTs downwards to show the fields of Goodnestone. The camera then PANs to the left slowly and smoothly.

Cross dissolve

Camera is then at the top of a row of trees - LONG SHOT.  The camera tilts down, following the tree's height, and then focuses on BILLY on his HORSE.

BILLY is riding towards Goodnestone Park Gardens, the home of PHILLIP JEFFORIES and his new wife ELIZABETH HARDING.

The camera pans round, following the Horse while it Gallops down the road. LONG SHOT - EXTREME LONG SHOT

Opening Sequence

BILLY continues to ride quickly through the fields of Goodnestone.

Close up of letter and reins in Billy's hand - camera pans to a MEDIUM CLOSE-UP of Billy's face.
CLOSE UP of HORSE's feet, which cuts to CLOSE UP of BILLY's face.
Extreme Long Shot of billy riding through field. Camera pans to follow Billy (stays in middle of shot)Stops when he goes behind trees

LONG SHOT of BILLY riding towards the camera.

Delivery of the Letter

MID SHOT of BILLY dismounting his horse. Tracking shot. CLOSE UP OF Letter in BILLY's hand.  CAMERA TRACKS BACKWARDS AS THE LETTER TRAVELS TOWARDS CAMERA. CAMERA THEN LIFTS AND SHOWS A MEDIUM CLOSE-UP OF BILLY'S FACE. BILLY goes to give the Maid the letter.  CAMERA FOLLOWS THE LENGTH OF BILLY'S ARM, AND CONTINUES TO PAN ROUND TO SHOW THE MAID.

MAID

You know I can't take that.  He won't allow it.

MEDIUM CLOSE-UP OF BILLY'S FACE. BILLY continues to hold out the letter steady. CAMERA GOES TO A CLOSE UP OF THE LETTER

MAID

She won't read it... you know that.

MEDIUM CLOSE-UP OF BILLY'S FACE. BILLY remains still.  Another CLOSE UP of the Letter

MAID

Ugh, you stubborn sod! (reflects) Alright, gis it here. Well, common!

MID SHOT OF BILLY handing over the letter to the Maid. MEDIUM CLOSE UP OF THE MAID

MAID

Now go on, get out of here! Go! Before he sees ya!

MID SHOT of BILLY getting onto his hore. LONG SHOT of BILLY riding out of shot. When BILLY is no longer in sight, the maid looks at the letter, CLOSE UP OF LETTER IN HER HAND. Maid then drops the letter to the floor. CAMERA GOES FROM HER HAND AND TILTS TO THE FLOOR. IT THEN FOLLOWS IN THE DIRECTION THAT THE LETTER FALLS, AND TILTS SO IT IS STRAIGHT AND SO IT IS floor level, AND THEN  TILTS slightly upwards to show the maid walking away in the distance.  The wind gets under the letter, and lifts it from the ground.  The Maid turns round to find the letter in the air.  The letter is out of reach.  It curves in the air and then Covers the camera's view.

Black Screen

Title Sequence - Second Draft

Ideas for titles

The main object and focus within 'Devotion' will be the letters that Billy sends to Elizabeth.  I decided to try and make the footage within the title sequence like a letter.  The image will have a drawn effect, and the font will be like handwriting.  Example below;