Mise-en-scène & Shooting Schedule

Locations: 

Tyrrell’s house: Convenient setting, near to school and to actors

Ordinary terraced house in suburban setting.

 Bedroom - very little furniture to remove and is relatively large. 

Gunnersbury School - Art block: This would provide the perfect 'art environment' for the final scene where the Artist is happily painting. The props found in the surrounding areas such as other artwork and art supplies will suggest this to the viewer.

Gunnersbury School - Mr Cissé's office: It is the most convenient office setting in the school, with the desk directly in front of the door, set out so that it can accommodate two people. The office will need to have an imposing desk, with the man and woman in large chairs, while the artist is kept distant.

Gunnersbury School - Hall: There is sufficient space for a crowd of people on the new stage to marvel at the painting. There is also an echo in there which can make the crowd sound louder.

Hounslow/Boston Manor – job centre, shops, post box, tube station and phone box: They're not entirely pleasant places, when compared to 'nicer' parts of London, and has a multicultural feel to it, with large Asian and Polish communities. It is relatively quiet on weekdays and you will easily find the places listed above.

 Boston Manor Station

 BM Park - green areas in which walking scenes can be filmed.

 

 Manner's Cafe - can be used as 'shop'/ hangout

Hounslow job centre - located in a very multicultural area

Phone box, near to Manner's Cafe, typically red - easily identifiable

Casting:

• Daryl – Artist
• Dressed appropriately, his 'foreignness' can be exaggerated, wearing plain clothing, generally not considered trendy. Has wild hair.
• Kate, Nathan, David – Racists 
• Are of white origin, dressed in a 'chav'-like manner - hoody/tracksuit coat; in school uniform - need to resemble typical racist youths.
• Nathan – Pusher
• Of large build. Little is seen of features - dressed quietly.
• Nathan, Mark – Hostile, foreign men
• Dressed in hoodies. Inconspicuous.
• Carolina – Woman behind desk
• She is to play a middle aged woman, dressed professionally, wearing glasses.
• Jason – Man behind desk
• He is a younger man, dressed professionally, but has a distinct style.
• Crowd
• Smartly dressed, sophisticated-looking people. To be assembled on the day from Sixth Form Students who will already be dressed in business-style suits.
  

Props:
Big bag, Shopping bag, Canvas, Easel, Application form, Newspaper, Letters, Paint, Packet food, Train ticket

Shooting Schedule:
First Shoot (12/02/10)
Location: Tyrrell’s house
Time: 4-6pm
Actors: Daryl Finch, Nathan Tyrrell, Mark Tyrrell
Props: Suitcase; Easel, with canvas and paints; Application form; Post; Newspaper with article; Food 
Aim: To film all shots to be done at Tyrrell’s house - arrival, painting, filling in/receiving application, encounter with hostile foreign men, conflict with racists outside
What happened: All shots done except those which required props as they were not yet ready. Props were ready the following day and so filmed, then. It was decided that shots of racists outside house were to be moved to the park instead.

Second Shoot (14/02/10)
Location: Boston Manor Park, Manners Cafe, Post box, Phone box
Time: 2-4pm
Actors: Daryl Finch, Kate Blythe, Nathan Tyrrell, David Tyrrell, Carolina Garcia-Ochoa
Props: A to Z; application form in envelope; newspaper with article
Aim: To complete all shots in and around Boston Manor – asking for directions, racial abuse by youths, posting application, getting knocked over by passerby, buying from shops, finding newspaper
What happened: Time slot was too small to complete all shots, and so was completed the following day at the same time.

Third Shoot (20/02/10)
Location: Hounslow, Job Centre
Time: 2-2.30pm
Actors: Daryl Finch
Props: application form
Aim: To complete all shots in Hounslow – entering Job Centre and exiting with application form
What happened: These shots were all completed


Fourth Shoot (21/02/10)
Location: Boston Manor Tube Station
Time: 2-3pm
Actors: Daryl Finch, station staff
Props: train ticket, canvas
Aim: To complete all shots in train station – barrier incident, boarding train
What happened: These shots were not feasible and so decided to cut them from the film. A single shot of a moving train was shot.

Fifth Shoot (22/02/10)
Location: Gunnersbury School – corridors, Mr Cissé’s office, hall, art department
Time: 10am-1pm
Actors: Daryl Finch, Jason Grandison, Carolina Garcia-Ochoa, members of crowd
Props: canvas with easel
Aim: To complete all shots in school – journey there, unveiling of artwork, crowd reaction, happily painting
What happened: These shots were all completed with crowd assembled based on who was available there and then.

By Daryl Finch

Script

INT. ARTIST’S ROOM. DAY

ARTIST arrives in his new room. He puts his bag on the floor and sits on his bed. He looks around and looks pleased with himself.

INT. KITCHEN OF ARTIST’S HOUSE. DAY

ARTIST walks through the door, there are 2 hostile ‘foreign’ men who look up then return to their conversation.

ARTIST: Heylo

He smiles, awaiting response which does not come, then turns and heads towards the front door.

EXT. STREET. DAY

ARTIST: Excuse me?

Points at map. Passerby continues walking.

EXT. PARADE OF SHOPS. EVE

ARTIST enters shop, exits with shopping bag.

INT. ARTIST’S ROOM. NIGHT

ARTIST sits alone, eating what packeted food he has. He sets up his easel and puts a canvas onto it. Gazes down towards paints.

EXT. OUTSIDE JOBCENTRE. DAY

ARTIST exits with an application form.

INT. ARTIST’S ROOM. DAY

ARTIST fills in application form and starts painting, pleased with himself.

EXT. POST BOX. DAY

ARTIST posts application form.

INT. ARTIST’S ROOM. DAY

ARTIST continues painting, happy.

EXT. STREET. EVE

ARTIST drops bag on the floor and contents spill out onto the pavement. Pedestrians walk past; one knocking into him. None stop to help.

INT. ARTIST’S ROOM. DAY

ARTIST continues painting, emotionless.

EXT. ARTIST’S HOUSE. DAY

ARTIST gets abuse from a small group of youths as he leaves the house.

YOUTH 1: Haha! Fresh off the boat!

YOUTH 2: I bet he don’t even know what we’re saying!

YOUTH 3: It’s for people like you that we’re paying taxes!

YOUTH 1: Get back where you belong!

YOUTH 3: Yeah!

He walks towards the train station, visibly upset. He has trouble at the train station using his ticket.

STATION STAFF walks over.

STATION STAFF: What the hell are you doing? Are you stupid or something?!

ARTIST runs away.

STATION STAFF: That’s right! Go back to where you came from!

INT. ARTIST’S HOUSE. DAY

ARTIST continues painting, upset and annoyed.

INT. ARTIST’S HOUSE. MORN

ARTIST sifts through post eagerly. Finds letter. Takes it to his room, opens it. It is a rejection letter.

ARTIST continues painting with a look of anger on his face.

EXT. PHONE BOX. DAY

ARTIST enters phone box. Picks up the phone and dials a number.

ARTIST: Maman?

ARTIST continues on the phone, then leaves the phone box when the money runs out. He is tearful.

INT. ARTIST’S HOUSE. DAY

ARTIST continues painting. He is tearful.

EXT. PARADE OF SHOPS. DAY

ARTIST is looking in newspaper. He sees something interesting.

INT. ARTIST’S HOUSE. DAY

ARTIST puts the newspaper on the side. It is an advert for an art competition.

EXT. TUBE STATION. DAY

ARTIST boards train with no difficulty. He is carrying his artwork with him.

INT. OFFICE. DAY

ARTIST arrives outside office. He looks at sign, knocks, and enters.

A MAN and a WOMAN are sat behind the desk.

WOMAN: Come in.

ARTIST stands, blankly.

MAN: So what have you got for us?

ARTIST unveils his painting

INT. ART GALLERY. DAY

ARTIST unveils painting. Crowd applaud. Members of the press mob him. Audience members take photos on their mobile phones.

INT. ART ENVIRONMENT. DAY

ARTIST is painting, happy.

FIN.

Commentary:

We anticipate that there should be few difficulties with acting out this script apart from perhaps the train station scene. We may have problems with arranging this with regard to getting co-operative station staff while not upsetting members of the public! With this in mind, we may instead decide to cut this scene as the scenes already in place are expected to be more than enough for the 5 minute brief.

By Daryl Finch