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Proposal

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Proposal

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									IN ESTATE
Feature Film Proposal In collaboration with Depaul Trust
Contact: Craig Conway 07967 627 365 Email:inestate@mac.com
Feature Film Project: In Estate (working title) Directors: Craig Conway & Paula Penman

Writers: Stuart Wheatman & Craig Conway Introduction In Estate is a feature film, which takes its inspiration from the crossroads and self-discovery of youth, quite literally, from despair to where? We tip our hats to such works as Scum, Made in Britain, Fight Club and Lord of the Flies. Concept The film is a contemporary story binding a loosely knotted string of jagged and at times, disturbing tales together. We bring together the glory of everyday nothingness and elevate it to great drama with our domain in a run-down post-apocalyptic tenement blocked council estate, where stilted conversation, casual violence and loveless sex are the norm. The minutiae of people‟s lives becomes of the utmost importance as we concentrate upon each character‟s sub plot, revealing why and how they are in the estate. This is a world which no adults inhabit; a world where anarchy and selfpreservation rule. Genders are split, gangs collide and loyalties switch daily – a lost civilisation, searching for something that‟s already found them. Set to a dark and bleak North Eastern backdrop, we gatecrash into our main (male) character‟s life and primarily follow two characters – boy meets girl, boy and girl teach and learn from each other and come to terms with their world its past and the legacy left from those before. It is only when they reach an understanding and pass it on to others do each one of these people begin to „go missing‟, never to return. Our main characters act as the cataclysm to the disappearances: Once knowledge is reached, an acceptance of being, each character in turn can move on from their place of limbo, leaving behind our main characters to nurture a new civilisation on their own.

The estate is a metaphor for that place in the mind where young people can and do find themselves. It can be a physical or emotional place, but common to all. Within that state of mind, the film works on several different levels. It is a multi-layered story dealing with the real and the subconscious world and the issues facing youth in Britain. Our subtext looks at gender roles and the total absence of a traditional family and the values associated within, where perceived behaviours manifest instinctively. This state of mind is one without role models and rules, where one‟s own views must be re-evaluated and sociably accepted in order for the mind to be freed. Freedom comes when the line is crossed – whether a true boundary or a constraint of the mind – and in true Darwinian terms, In Estate is about survival of the fittest. In Estate is a story of contemporary lives and local heritage. Handling of the Film We propose to make this film by using methods we have proved successful both in our personal work, and working as a team. The main skeleton of the film is in an advanced idea stage and will be structured and developed accordingly. From there, we will work with young people in constructing the scenes, dialogue, action and story. With this in mind, the film becomes their idea and an interactive element is introduced by posing questions and discussing possible outcomes – creating a basis of how each scene will work.

WORKSHOP Craig Conway and Paula Penman who will help generate ideas for story will lead the workshops. We will also collaborate with youth psychologists creating a safe environment to explore delicate issues and introduce local historians to connect the participants to their past heritage giving them a broader knowledge of their city and community. Co Writer, Stuart Wheatman, will be present at all workshops and will notate each session, developing the script around improvisations and consulting with the directors regularly. Each session will be informal in approach, but structured to desired aims and outcomes. Once the script is finalised, there will be ongoing updates to reflect workshops and leave a fresh spontaneity to each scene. The realism in the film lies in the fact we are using non actors, whereby much of their dialogue will be improvised, performance at times will be reactive with each scene being an idea to create action within. The choice of a male and female director transposes to the subtext of the film and is a working relationship we wish to develop.

Artistic direction The film is concerned with fantasy and reality and the line between them being blurred. We predict a somewhat expressionistic style would be appropriate to the piece, with lighting concepts used to project character emotion, taking influence from Trainspotting and the colour awareness utilised by Krzysztof Kieslowski. This is to be a realistic piece, incorporating surreal elements and archive footage of Newcastle‟s industrial past and heritage. Summary We believe that we have the commercial awareness, technical and artistic acumen to make this film a success. Writer and directors have a strong interest in developing work for and with young people and have built up tremendous reputations over the past decade in film and performance with this target group. With all of our roles, we have to be organised, flexible and able to manage many complex tasks and a varying workload. We are able to do this effectively and are able to communicate successfully with a broad spectrum of people in a sensitive and understanding manner.

AIMS AND OJECTIVES We believe in telling this story we will: Create a positive outlet for young people to speak clearly about their “youth culture”. Connect young people to the heritage of their city, community and it‟s people. Produce positive awareness and debate about our youth. Gain positive insight and understanding into the psychological behaviour of young people. Produce working relationships with artists and charities in the North East. Promote the North East‟s film making in the community. Produce a feature presentation for local, national and international film festivals.

Supporting Statement Throughout our careers, we have facilitated, directed and devised with over 5000 young people including young offenders, those at risk of offending, disadvantaged and vulnerable young adults, young people with learning and physical disabilities and young people in looked after care as well as participants with an age range from 4 – 64 years. Although we have worked the length and breadth of the country, our roots remain firmly with the North East. As a creative team, we have several years of experience and valuable and reliable contacts covering every discipline, both on a local and regional scale. The team‟s professional ethos is one of inclusion, whereby participants are encouraged to take ownership of their work through empowerment, along with an understanding that nothing is more high profile than the participants themselves. We encourage and support participants to produce innovative work in a safe, fun, creative but never patronising environment. We believe it is vital to gain feedback and evaluation of all projects as this ensures success for all current and future projects.

Thank you for your time and support in reading this document. I think you will agree that this project is an exciting innovative and original concept, which could create so many opportunities for the participants and professionals involved. Many thanks

Craig Conway

Additional Information For budget breakdown, show reel, CV‟s and support material please contact Craig Conway: inestate@mac.com To preview the In Estate pilot please go to: www.halfway-productions.com


								
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