Final Screening

Final Screening today, I have completed my production paperwork and I am really looking forward to viewing everybody’s projects.

I think that the progression on this course from a ‘3 Minute Wonder’ to two ‘5 minute programmes’ and to finish with two ’10 minute programmes’ has been really challenging but has given us quite a broad-overview of the industry and the expectations of the contemporary TV marketplace.

Personally, I think the work that my crew has put into this project has been incredible and I am immensely grateful to all four of them for their efforts, expertise and skill.

Nearly over now guys! :D

Critical Screening

Formative Screening today went really well and we received a lot of positive feedback for our projects. I was really pleased that everyone enjoyed ‘The Unthinkable Truth’ documentary and found Phil to be engaging and entertaining.  With the benefit of the big screen you could really appreciate how well Jim, the editor, has cut this doc in response to contemporary TV, additionally, the final interview with Phil was really worth pushing for at the shoot because Phi is emotional and impassioned and you can really emphasise with him as a contributor.  

Additionally, the BMX documentary has pulled together really well; the tracking shots have added a really ‘expensive’ look to the film and the use of the Birmingham World Championship races is excellent and all credit to James, the Director, for the level of access he gained to film those races. The film has a much more modern and dynamic feel to it than perhaps the ‘Alien’ programme and I think the timing with the start of the London 2012 Olympics makes this film wholly relevant and exciting.

Really happy with the feedback and the work just got to wait for the final screening next week.

BMX, Tracks and Training!

Further travelling and numerous service stations but yesterday we completed the BMX Shoot! This shoot was challenging for everyone involved; it was hard on James as a Director because he had to juggle Directing and recording good sound. It was difficult for Tim and Michaela because they had to handle both the interior stadium environment and the outdoor tracks and my most important challenge was ensuring that we got everything we could out of the interviews and really made the most of the fantastic access we had been granted.

At the National Cycling Centre in Manchester it was brilliant to interview the five Academy riders because we were giving them more media exposure but they already had to some degree some interview exposure so they were pretty comfortable on camera and gave great answers so didn’t need a huge amount of guidance from me.

It was critical, however, during this two shoot that we did not interfere with any of the rider’s training including the training of Team GB’s two Olympic BMX riders this year Liam Phillips and Shaznaze Reade. James and myself were fortunately able to negotiate with Grant Whyte, the Head Coach, that we would be able to film and also that we could have consent for the BMX World Championship races we shot back in May so we’re really grateful to British Cycling, Grant and Marcus Bloomfield, the Academy coach for being so welcoming and supportive.

It was a great experience for James and Tim to have that additional day filming Marcus on his home track; a bit more time, natural light and space to film some really creative and more technical shots!

 At Peckham race track, our contributors were equally obliging and although I had been worried that perhaps C .K. Flash, Peckham’s Head Coach and Quillan Isidore, the current under 16yr World BMX Champion would be reluctant to talk they weren’t; they were completely engaged, enthusiastic and I think natural in front of the cameras.

Our final contributors, Rob Reed and Flo Heft, as well as Flo’s Dad Andy also adapted to interview really well and this was surprising considering the lack of media experience that the three of them had. I did try as much as possible to make them at ease and ask the questions in a way that would allow them to answer naturally but perhaps with the benefit of hindsight it would have been great to have a little more time with these three particularly Flo because she has a lot of content to give.

On the whole, I think the BMX team adapted really well to the variety of situations and issues we had to deal with and I think that it has proved to me the benefit of capturing all and any interview you can in the time you have because you never know what might be needed in the edit.

Aliens, night-watches and stars!

In a whirlwind of activity we have now shot the ‘Mutilation: The Unthinkable Truth’ documentary! The travelling is a bit ridiculous and poor James, camera-operator, must feel like he has driven forever but it is done and we were delighted in that all the contributors were pleased with the experience and are not likely to send extra-terrestrial beings after us!

I had, unfortunately, missed the reccie back in May because I had attended a fantastic networking day with the BBC4 Controller Richard Klein which had been a real insight into the way Controllers select ideas for their channel but, anyway, it had actually proved to be an advantage that I had not attended the reccie because Phil Hoyle, founder of the Animal Pathology Field Unit, (The APFU) had been pleased to have a new person to discuss his research, theories and evidence with.

The Hoyle family were an absolute treat to work with and although I had been concerned that maybe Carol and Jason, (Phil’s wife and son) would not be on camera they agreed and really added another level of depth and perspective on the Phil’s story and search for the ‘truth about aliens.’

In a sense, the greatest problem for us as a crew was sifting through the sheer volume of information and selecting the best bits we needed and although if I am completely honest I do feel that a few tricks were missed, on the whole the project has made a subject that is quite multi-faceted and in-depth into something entertaining and understandable so I am delighted by that.

On reflection, I do wish we had more time to reccie the other contributors, for example, Matt Sanders the APFU photographer was great at interview and it would have been good to have gleamed more information from him.  Additionally, I feel that perhaps sometimes the focus was a little Phil-centric but on the whole the whole crew has left with a positive impression of the experience and it will be fantastic to see this in the edit suite.

Work Experience Fortnight!

Well, I have had a really busy two weeks, in the first week I was given the opportunity to work in the development department at Twofour in London which was a really fantastic experience because I had neither worked with a team of development producers before nor had I been part of an office of professional programme makers so this was a great insight into working practice and ideas generation.

I had a lot of research to do that week which I really enjoyed also I was able to participate in a brainstorming session for a new programme and contribute ideas for talent and titles for shows that Twofour are currently developing. Additionally, getting the chance to talk to the development team about the programmes we’re making on the course was a real bonus and I am returning to uni with lots of ideas and a much more realistic view of the TV industry as a whole.

Immediately, after this I attended a networking event in London with the Royal Television Society which was superb. I was really nervous to be faced with meeting five commissioners at the top of their game, as well as Theo from Dragon’s Den, but they were all really accommodating and friendly in answering my questions and letting me hang around for a bit! (Never have I wished to be more knowledgeable in my entire life!)

Then to round the fortnight off I did four days of casting for Twofour which involved travelling all around Cornwall and handing out leaflets to get people interested in participating in a show for the Discovery Channel. Then, I also did a day working on the Hotel Inspector at the Meudon Hotel which I loved and I can promise is going to be an absolutely fantastic episode when it airs in mid-August. (Do watch because I was nearly crying with laughter at a couple of points and the hotel owners are absolute gems anyway. :D)

So busy time for me but a bit disappointing in that I did unfortunately miss filming with the BMX team at the Birmingham BMX World Championships but I am really excited to see their footage and to getting shooting for the two documentaries.

Productions greenlit and roles set in stone

Well we did the pitches today and the relevant projects have been selected for Unit 160; of the two pitches I participated in, ‘Mutilation: The Unthinkable Truth’ was successful and ‘Bionic Man’ was unsuccessful. L

Our ‘Executive Producers’, Jane and Mel, felt that ‘Bionic Man’ was too one-dimensional and would not work if we did not get access to EKSO Bionics where our key contributor David Follett was product testing a bionic suit. I feel that we probably would have been granted access and actually David would have made a compelling character and a wonderful ‘Extraordinary Me’, however, this is the reality of television that not all your ideas will get through and all art is subjective.

‘Mutilation: The Unthinkable Truth’, or ‘Alien Hunters’ as I have been calling it, will be made though, and the key points from the Execs was to look for younger contributors and to focus on creating a sensitive and well-rounded portrayal of the contributors, who let’s face it might be difficult for a lot of people to empathize with!

So having lost one project, I have now moved onto another and I will now be producing ‘BMX: Hoodies to Heroes’ which is an insight into the world of pro-BMX racers through the eyes of the youngest up-and-coming riders. I am really intrigued by this project and I feel it will not only make a great ‘First Cut’ but also will be incredibly suitable for the Channel 4 demographic and schedule.

A couple more things….

I feel I have not elaborated on why I have not been more forth-coming with my own ideas, contributors and projects (because there are a few on the back-burner and sometimes my head feels like it’s overflowing with ideas)

Well, I feel that I rugby-tackled the last module in that I ended up working on four different productions, two projects as a Director, one project as a Producer and one project as a 1^st AD. So this time, I feel I really want to engage with the role of the Producer and yes work really hard and support my team but also really process rather than hit things full on with extreme impact. (Think bear-hug not rugby tackle.)

Additionally, to turn up in industry with a plethora of ideas can only be a good thing; be prepared TV...

(However, still might be tempted into directing the TV Studio thing on the 17th, did love studio last time, but we'll see how we go and what other interest is out there.)

Also, I did want to quickly add we had a really good talk from Dogbite Films the other day.

It is so brilliant to hear that there are really people out there actually trying to build the Cornish film industry not trying to rip us out of £1.87million! (Remember that story? What a travesty.)

All the best of good luck to the Dogbite team.

It’s all kicking off….

Been quite a hectic bank holiday with one thing and another! I am incredibly conscious that my work experience placement with Twofour Development is rapidly approaching so I’ve been booking accommodation, trains & checking that my wardrobe does have something smart in it…(Highly doubtful right now being a poor student. Think I will stand on a roundabout with a placard reading “Hire me ‘cause I need something to wear which is un-creased and not scuffed please!)

In regards to the projects, I have taken the decision to not produce on the Nazi Battleship doc with Jon for the following reasons:

a)      I am growing increasingly aware that I am going to work in factual and factual entertainment programming very soon and I need to keep my experience relevant; history docs are just not on the cards for me although I do watch them from time-to-time

b)      James pitched a wonderful Extraordinary Me story and I was a bit smitten with the idea….

Extraordinary Me was a season of 10x1hr programmes broadcast last year on BBC3, good move channel controller Zai Bennet, and I was raving about them when I first joined this course.

I thought they were, not all of them but the majority, really well done personal stories told unobtrusively and they set a really good tone/pace.

I would now like to help James tell the ‘Extra-ordinary Me’ story of David Follett, the Bionic Man, in such a energetic and enigmatic way.

Dear old 'Replacement'

Upon reviewing my blog after the last module, I felt that it was a bit wordy and colourless so I am going to take any excuse to post photos, drawings, paintings...etc. to brighten the walls....

This is the moodboard left over from Replacement, I made it in pre-production and had it propped up in one of the bedrooms on-shoot all the way through production.

How many actors, films, slippers or butterflies can you recognise?!

Financial mine-field and UFOs

Really good morning in that we had a visitor!
A guest lecture from Cornish Producer Denzil Monk which turned out to be really enlightening and very interesting session because up to now we haven’t really gone too much into the nuts and bolts of budgets and production costs but Denzil obliged and we were able to discuss funding and cost out the ‘Alien-Doc’….

The ‘Alien Doc’ is the latest project I am embroiled in, we have to have two production roles again, and it was pitched to me a couple of nights ago by James and Michaela.

It is going to revolve around the activities of a group called the Animal Pathology Field Unit (the APFU) that are based up in Shrewsbury and investigate the mutilation of animals by aliens….

Bear with me because as soon as I heard this idea, I thought this has the potential to make great telly and I have been dying to make a programme that is much more ‘produced’, ‘manufactured’ and less ‘free-flowing’ than the other documentaries we’ve made…

My TV programme of the year so far has to be Channel 4 The Undateables it is immense, a sensitive yet good humoured look at the human condition and I think this ‘Alien doc’ can emulate that quality.

A well-measured, even-handed look at average people taking on the extra-terrestrial as well as leading ordinary suburban lives… #TVGOLD.

Excellent, it’s all falling into place.

I might be committed as a Producer to a specialist factual or historical documentary programme of all things. :D

Jonathan has been developing a programme idea about a pre-World War II visit from a Nazi battleship and he has very kindly offered me a role on the crew as Producer.

I must admit that I do think the project is a little ambitious; there is talk of a trip to Poland as well as drama reconstruction and archive footage but I suppose he who dares wins and there is no doubt in my mind that if Jonathan chooses to take the 10min (masters project) version as a taster tape to a company like Denhams, TwoFour or even Regional BBC that he would attract attention.

It’s a great story, brilliant access and Jonathan is turning out to be a proper bloodhound for sniffing out archive documents and footage!

Also for me it is nice to actually be making a programme about Cornwall for a change, I've steered away from it before for fear of appearing lazy and staying on the front doorstep!

Here is a link to Remember Falmouth which is run by the Royal Cornwall Polytechnic Society which holds lots of lush, 'ye olde worlde', images of Falmouth back in the day!

New Unit! Number 150…..

So, everyone is back from Easter and we are beginning our penultimate module of the MA TV Production course (“time flies when you are having fun!”)

Unit 150 is essentially a 5 week preparatory module to set us up our final Masters projects and the dissertations.

I would still really like to go into TV Development & Commissioning as my ultimate career goal so I speculate (not wanting to jinx mind!) that this unit might prove to be my cup of tea!

5 weeks of brainstorming TV programme ideas, gaining access to interesting contributors and researching the dissertation is a great way to consider what editorial content is creating great contemporary TV…NOW!

However, five weeks may sound like ample time but really in reality, minus Queen’s birthdays, bank holidays, bit of kafuffle with forming crews and a couple of networking events it really isn’t that long.

Little apprehensive because your final masters projects should ideally be your calling card into industry and I really want to be part of two glossy, televisual and generally fantastic programmes.

PS: I was looking on the ever so helpful Guardian Careers website and I found this quite interesting interview from 'Jason Mitchell' - who was back in 2009 a 'Development Producer' for Maverick Television...

Isn't he lucky? Do you think he'd swap roles? I could do his job and he could be a student again?!

Working as a Development Producer

Bon Voyage to my DVD portfolio & my Production folder

I handed in my ‘breeze block size’ portfolio this morning and the Unit 140 is officially over; the whole experience has been incredibly challenging and I do not think that these short blog posts quite capture the steep learning curve I have been on.

I have learnt a great deal about people management and self-discipline in a drama production process.  It is definitely an experience during which you are pulled in every direction and you definately have to be prepared to problem-solve and crisis manage at the drop of a hat.

However, the end products are great which is incredibly gratifying and the kind letters and words which I have received from each of the three respective drama casts and crews that I have worked with are my greatest acheivement* during this module.

(*Wishful thinking - If I can get "buy-in" from my production collaborators then I can achieve the same "buy-in" from viewers.)

Final Shoot on 'Replacement' (04.03.12)
Photos courtesy of Matt Mirrington & Natasha Mitson

The Onesie Show is immense. Please everyone watch my DVD portfolio.

Today was the hand-in date for the Unit 140 DVD portfolio; I obviously had three DVDs to submit: The Replacement dir. Alice Reynolds, Lights dir. Rosy Pearce and ‘The Onsie Show’ dir. Alice Reynolds. 

Yes, we shot and edited our 30 minute TV Studio recording on Friday and the end result is fantastic especially considering that we only had three sessions booked in to prepare, practice and then record.  

The TV Studio is such a controlled and structured environment that it was a blessed relief after 10 days of intense drama shoots not to be looking for glass on the floor or spotting double shadows on-set. Additonally our contributors and presenters were consummate professionals and adapted to the environment, the auto-cue and my direction really well.

The name of the programme, ‘The Onesie Show’ has to be credited to James Harwood who pointed out that we were ‘the baby version of ‘The One Show’ and the name just stuck but it was entirely appropriate because the content and programme structure was intentionally modelled on ‘The One Show’ by me.

I hope everyone enjoys it when it goes online. I definitely think it makes for an interesting programme and again a big thank you to all our hard-working presenters and contributors as well as the wonderful crew who stepped up despite external pressures and deadlines.

'The Onesie Show', dir. Alice Reynolds  (23.03.12)
Photos courtesy of Natasha Mitson

‘Lights’ is wrapped but I am also 1st AD for ‘Me & My Bro’ and Director for TV Studio

Really enjoyed my first TV studio session yesterday; we have a really strong team in Group B including a visiting MA Broadcast Journalism student which is great because poor Group A did not have enough members whereas we have the right amount to create a really good 30 min programme.

However, I think we are going to need all the teamwork and support we can get from each other over the next three weeks in order to get the programme made because the show spectacularly clashes with the end of shooting and whole post-production process.

As Director, I am really excited to get the opportunity to work in the studio gallery but I am a bit apprehensive about succinctly communicating with the cameras to let them know what shots I will need. It seems to me that time is of the essence even more so than out on drama or documentary productions.

‘Lights’ wrapped on Friday and we completed the full shot list despite my worries that we would not; there was a point when we were running disconcertingly behind!

Also, we achieved all of the more challenging shots in the storyboard such as the blackout and the flickering light bulbs. Big achievement all round.

I have now been shooting for nine days straight on three different drama projects and have only one more day to go on ‘Me & My Bro’ which Christine kindly gave me the opportunity to 1^st AD on. It is really great experience and it is really interesting to observe how other crews and individuals work.

One more day to go!

Replacement wrapped 4 minutes ahead of schedule! :D

I was ecstatic when we finished ahead of time not really behind which I swore we were going to do and I was so desperate not to hold the actors up or irritate them. However, anyway, I need not have worried Tony, Jenny and Mel were fantastic, consummate professionals and so friendly to boot and anyway we wrapped four minutes early! J

(I did actually run about trying to think of an additional scene to cram into those final four minutes!)

Shooting Replacement was a great experience; I learnt a ridiculous amount about optimising both crew and cast performance also the importance of planning and preparation in Pre-Production because there is no doubt in my mind that all Simona and my hard work in the last couple of weeks really paid off on-set.

Anyway, starting traipsing around dark alleyways now for Lights; we are going to film the park scenes tonight and I must say all this night-time prowling and light bulbs smashing on the ground is playing havoc with my risk assessments.

I miss my cosy Cotttage 91 with it's comfy seats and bubble bath!

Learning lines and 'Replacement ' shooting starts tomorrow

So, I am having an extreme battle with Cornwall Council to get permission to film in this blessed park so much so even that I am starting to think either the man in charge is invisible or I imagined the park. Otherwise, ‘Lights’ is brewing quite nicely because the final script is done and distributed, we completed a final shooting schedule last night and I am nearly on-top of all the call-sheets and risk assessments. (Nearly, I just wish there was more time in the day!)

In regards to ‘Replacement’, I have had rehearsals now with all the cast members although Simona says there was more laughing than acting in the sessions; that bodes well for tomorrow?! I have created and distributed a shooting script, script breakdown, gathered props and tried to get my thoughts in order before tomorrow.

The location is Pendra Loweth which I only got confirmed on Tuesday but I was delighted when we did get the house because we will have the whole space, including home comforts like a fridge for two full shooting days which is just what we need.

I will admit I am a tad nervous about tomorrow but Carpe Diem and I suppose if all does fall flat I could just submit a film of the crew eating biscuits or something?! (No biscuit film, not really makes me feel queasy just thinking about it!)

Wish me luck. x

Another day trip to TwoFour and also to Denhams

Interesting day today because obviously I was "giddy" with excitement to cross the Tamar (like a whole other world seriously) and I also learnt the merits of multi-platform TV from TwoFour Digital.

However, first I will mention our flying visit to Denham Productions which was very comforting because it was a literal shrine to nautical themed interior design which of course I am no stranger to having lived in Falmouth in years gone by.  Anyway, Denhams was a really ‘nice company’, small but very friendly and quite clearly aiming to go places judging by the amount of hard work they are putting in to both their editing facilities and their development of future programmes.

Fingers crossed that Denhams will branch out to make the programmes they wish to make. Terrible to be pigeon holed and I like to perhaps naively believe that hard work never goes unrewarded.

Anyway, TwoFour Digital was amazing. You can now through your connected TV select to buy the clothes that the celebrities on TV are wearing whilst still watching the programme. Yes all on the tele-box, play-along, buy, tweet, facebook and was in there like a shot downloading Zeebox app for the iPad.

Will have to really wrack my brains to think of a good multi-platform pitch to present to them on Weds 14 March. 

Casting shenanigans all done and storyboard complete

I will be honest, I was actually quite anxious at the prospect of holding auditions particularly because like a stubborn mule I had turned down the offer of supervision and help. (No offence Brett. It was entirely a practical decision not a personal one!)

However, I need not have worried because it went really well; a staggering 22 responses to the call outs, I don’t think I get 22 cards on my birthday (!) so I was really pleased and ultimately we have cast three great actors to play the three main roles in ‘Replacement’

Additionally, Lights has been cast this week; had a really fun audition evening on Wednesday (with Brett in tow this time) mainly playing with torches in the Peter Lanyon building but we’ve narrowed it down to an actress named Carrie who was ridiculously convincing at pretending a sprite bottle was a lampshade. (Make do and mend when you haven’t got the right props to hand.)

Also in further news the ‘Replacement’ storyboard is done and I really do feel like an industry professional with all these late nights and a diet solely made up of things out of cans. (Baked Beans with brown toast, baked beans with white toast…baked beans on a bagel…the bagel was the most interesting day!)

A ‘Silent Witness’ and Happy Valentine's Day

Pre-production is still progressing very well for both projects although a little more slowly on Lights because of script rewrites. However, that is not to say that ultimately Lights may not overtake in the process.

As Producer, over the last couple of days, I have composed a provisional shooting schedule for Lights, rung around restaurants and supermarkets as potential locations also tried to keep communication flowing as much as possible between all parties within the Lights crew.

In regards, to Replacement, I have distributed all the casting call outs now and I have started to get a good response from actors which is fantastic news.  Simona (the ‘Replacement’ Producer) and I have been communicating really well and from the beginning we clearly outlined what we expect of each other and how we want to map out the production. Much appreciation for Simona’s ‘cool as a cucumber’ attitude.

On a slight tangent, (and mentioning ‘cool heads’) we were fortunate enough yesterday to have a ‘Location Day’ shooting with a 1^st Assistant Director (who worked on the fantastic 'Silent Witness.')

Now, in my ignorance I had not given much credit to the role of 1^st AD before BUT how wrong was I! He was fantastic, had us all whipped into shape really quickly and I really admired the way he kept the pace and energy on set but also maintained control and asked for self-discipline from everyone.

As Director of Replacement, a ‘1^st AD’ went quickly to the top of my wish-list and luckily Simona was on-hand to ask!

Pitching, Pre-production & the “7 Ps”

Well, things are moving forward pretty quickly; I pitched my drama concept yesterday and it was met with quite a lot of enthusiasm. (People want to work with me yay!)
So, we are all “crewed up”(after a great deal of negotiation, muttering and misunderstandings) and as it stands now there are four documentaries and four dramas green-lit.

I am Writer/Director of ‘Replacement’ and I am Producer on another short drama called ‘Lights’

Replacement	Lights
Director: Alice Reynolds	Director: Rosy Pearce
Producer: Simona Hrusovska	Producer: Alice Reynolds
DOP: Vicky Rouine	DOP: Vicky Rouine
Sound: Rosy Pearce	Sound: Christine Pigott
Editor: Natasha Mitson	Editor: Natasha Mitson

In regards to Television Drama, everything I have read or heard indicates that  Pre-Production is the critical stage to ensure a drama production is organised and successful. Therefore, I think my mantra for the next two weeks will be one I have learnt from my Dad: The 7 “Ps” : Prior preparation and planning prevents piss poor performance.

Therefore, with this sentiment in mind I have already held three production meetings; two for Replacement and one for Lights.

For Replacement, I have drafted a schedule, posted casting call outs, discussed the storyboard,  secured a ‘Continuity Supervisor’, discussed the production budget.... ( I could go on!)

In terms of Lights, I have requested for the script to be finalised, discussed location scouting, asked that the budget and distances between locations be kept to a minimum, enquired about casting and props and I have also put out a request for paperwork!

Pre-production is “firing on all cylinders” me thinks!

Busy Work Experience Bee & “Choose your fate”

Dashing from Truro to deepest darkest Penzance all this week to work with the Art Department for Crossday Productions (again) on Summer in February. Good experience;  it has made me really appreciate the level of hard work and dedication needed to work in the film industry. I know I want to work in TV but even so there are parallels and more to the point I understand etiquette on a professional film-set now which is great.

This week, I did some photo-copying, painted signs, unravelled bunting, talked to art directors, shovelled gravel, followed orders from production and location managers also observed a period costume piece being created or should I say “realised” before my eyes.

I loved this week, even though I got home at an ungodly hour every evening and spent most of the time cold and/or rain-soaked.

Additionally, I had my summative tutorial for Unit 130 last Friday and that was really positive if a bit un-nerving. You see, I love watching TV, I love making TV but I am still unsure as to whether I want to be in factual or fictional television. So, in the tutorial I have plumbed for drama and I am hoping for the best although conscious that the industry is intensely competitive and you cannot afford to be indecisive.

Silver lining, though, at least I know I can generate ideas for both documentary and drama also I can always pull a half decent pitch out of my sleeve!

Good Times & Good Lines

Aaargh! Running straight into Unit 140 so my head feels like a game of ‘Kerplunk!’ (I may be losing my marbles!) However, I am really excited about the opportunities that this new module is already offering.

On Monday, we had a script read-through with Weekend Retreat director Brett Harvey and two actors which was a great reality check on the gaffs in our drama scripts but I was pleased because the feedback for my script was generally positive and the listeners laughed so my sense of humour is obviously not as ‘obtuse’ as I thought. (This experience bodes well for unit pitching and production.)

However, much more exciting news in that I pitched a factual entertainment format to TwoFour Productions yesterday and won work experience with the London Development Team!

This is brilliant news; I am delighted and as I am coming around to the idea that ‘TV Development’ might be the ‘end-game’ for this course this is really encouraging and positive. Happy days.

“Fin” - Unit 130

The hand-in has happened, the final screening of ‘Fighting Chance’ was a success and I am really happy with the finished unit. :D

I think the ‘Fighting Chance’ production team were all a joy to work with and considering the ambitious content as well as the time and resources allowed to us the final product is great.

Very steep learning curve and I am just nervously awaiting the results of the Media Law essay, Portfolio and 3 minute Wonder.

Watch 'Fighting Chance' everyone. 1 in 5 children leaving school unable to swim is an appalling statistic.

3 Minute Wonder - Fighting Chance 

Director: Alice Reynolds, Producer: James Harwood, Camera: Michaela Rose, Editor: Melissa Curnow

Formative Screening: terrified, mortified petrified, stupefied!

The editing on our three minute wonder has been progressing well over the past week and the group has been putting in a great many long hours and putting back a lot of sugar (for energy; needs must!) in order to get the best results.

Well, today all that hard work was put to the test in the formative screening with our course tutor, our course-mates and ex-controller of BBC docs Jeremy Gibson scrutinising our work; and I am so happy to say that we passed and did pretty well.

Nothing too brutal or unexpected was said, perhaps, in part because it is so difficult to criticise your colleagues work but I think that everyone liked it.

I have rung our contributor Julie Sammels to ask for a photo of her family before the tragic day at Whitsand Bay and she has agreed to provide one and the main critique was that we needed to ‘pack’ the ‘Whitsand story’ in the programme with some effective music and more close ups to really bring a hefty emotional punch into the story.

All in all not too bad; just need to finish the mountain of other work for Unit 120 & 130 before next Thursday, rewrite a script and think of a concept to pitch to TwoFour on 24th January! The prize for the best pitch is work experience with the TwoFour development team in London; how awesome would that be?!

Off now to continue work on Media Law; the Eastenders programme makers managed to upset a lot of people last New Year’s Eve with the ‘cot-death & baby-snatch storyline.’ Nearly ten-times more people complained than I have words to write in the essay addressing the legal and ethical implications of that episode!

Post-Crimbo edit

After spending the last week of the holidays in and around Penzance working with the fantastic Art Department for Crossday Production's Summer in February; my internal voice was squealing "what about our three minute wonder?!"

Will it be ready in time? Have we done enough editing and is my head going to explode?!

However, I need not have worried because my crew came to the rescue and managed to fit in an edit on Friday to hurry the process along a bit.

So big thank you and much glory to James, Michaela and Melissa for stepping in while I was filing set surveys, researching beach backgrounds and crinkling my nose against the 'crab smell' that now fills the Crossday Art dept. office!

(Miss Rosy Pearce and I went beach-combing on Wednesday to collect 'natural materials' from Penzance sea front to decorate the set.

Well today, we all met for our first group meeting post-holiday and it was a huge success; we have nailed the interview sections and created a fast-paced and 'gnarly' opening sequence to start the three minute wonder.

Production meeting tomorrow but I feel pretty confident because our group has timetabled our sessions and session aims for the next fortnight up until the deadline.

So all we need to pray for now is that the former controller for BBC Docs Jeremy Gibson will like our piece when he views it on Thursday in a Formative screening...Eeek a little bit perturbed!

Summer in February News

Crossday Films Twitter Feed

Seven Stones Media- Jeremy Gibson's Production Company