RESEARCH: SOCIAL SATIRE

We looked at a variety of social satire, such as the daily telegraph The Appalling Guests and social stereotypes and also the television comedy drama Absolutely fabulous. This shows the specific social groups that could be potential characters in our restaurant.

'Eddie: Patsy hasn't eaten since 1974. 

                                        Patsy: A crisp, darling. A crisp.'

We also asked our drama teachers at our school for their permission to film them in a scene in 'Zest'.

 Dear Mr K**** and Mrs H****

We would like to ask you if you would be able to make a cameo appearance in our film opening, a comedy about a restaurant called ‘Zest’.

You would play a couple of grumpies who exchange one line of dialogue:

Woman: I feel quite queezy about the beef, for all we know it could be zebra, or hippo, or giraffe

Man: It’s my cholesterol I’m bothered about

PLANNING: ZEST

This is our logo for our restaurant that we have edited on photoshop.  

PLANNING: DIALOGUE

We are deciding to shoot three different social classes to make the film more comedic. We plan on asking these people for our filming this week. These different social classes include: Upper class lady with husband, biker boys and two celebrities.  

Script: Upper class couple- '

Lady- 'I'm worried about the meat here, i don't want to be eating horse, this isn't like the Ritz'

Husband- 'well i'm worried about my cholesterol'

Biker boys- 'Oh so no bats on the menu, this ain't a good place for Ozzie Osborne then'

2nd biker boy- 'well freddie star ate his hamster'

Two celebrities- 'This is so no like LA, omg my hair extension'

CONSTRUCTION: ZEST OPENING SCENE

Location filming in Esher of ZEST establishing shot outside restaurant. Ellie, Jo and set up the camera to position across the road, as i appear to walk into shot. 

• Australian female gap year student arrives outside restaurant, 
• checks phone to verify location 
• and appears to enter
• CUs of restaurant window, advertising board etc to provide material for cuttaway shots

PLANNING: SCRIPTS

ZEST

Molecular gastronomy is the way to go....

If it's good enough for Heston, it's good enough for us.

I’ve got prawns with a soy foam and fruit noodles.

I’m planning a medieval feast complete with blood sauce and sea foam

On the menu tomorrow, beetroot meringue and snail porridge

Now where’s my blow torch?

ZEST CALL SHEET

A2 MEDIA STUDIES CALL SHEET- ZEST

Track: 

Length: 1 minute 30 seconds

Shoot Day: 7th February onwards

Location: High St. Esher, Surrey KT10, UK 

  

11.45 to 13.00

Crew: Ellie Walton                elliewalton@gmail.com         07989603545

Crew: Joanna Lewin             jojo@hotmail.co.uk               01932354676

Cast/ Crew: Esme Finch        esmef@gmail.co.uk              07989604887

Camera Equipment: HD Camera (Cannon D550)

                            - Cannon camera 

                            - Two batteries 

                            - 1 memory card (16GB)

                            - Tripod stand 

                            -  camera bag and protecting lens

                            - collapsible dolly 

Props:                   -Samsung phone 

                           

Wardrobe: Costume (Esme Finch) Danii

Outfit 1- Black and Blue Diesel jacket, bohemian scarf green and grey, sand desert boots, black tights, white shirt.

Makeup- hair down, natural makeup, Bobbi brown gold dust eye shadow 

     

BFI STUDY DAY: WORKING TITLE

G322 INSTITUTIONS & AUDIENCES (FILM)

The focus is on our case study, the British film company Working Title. The study day lead by Wendy Helsby, editor of the Understanding Representation resource, and freelance film and Media teacher and lecturer.

The day covers the reasons why Working Title is such a successful British film production company and the significance of its contribution to British film culture. We discover how a production company works, its relationship with its audience, the importance of distribution and marketing, and its position in relation to Universal Studios in the USA. The day includes a presentation from Working Title personnel and a panel discussion when you can ask questions, followed by a screening. 

Four Weddings and a Funeral (1994, dir..Mike Newel) was screened but you cannot use this as an exam reference as it is too old. For our case studies we must refer to films made in the last 5 years.

This is an excellent day's preparation for your summer exam, adding several new texts to our spread and enabling us to contextualize our research. You will receive a copy of the teacher's hand outs with all the additional information provided by Wendy Helsby.

PLANNING: STORYBOARD

 Here are pictures of our storyboard we drew for our film opening

PLANNING: RESTAURANT INTERIOR

We've decided that we are going to use the school canteen for the interior location shooting. We think it is suitable for our scenes because it looks authentic and has a similar vibe to other restaurants we looked at previously. 

PLANNING: INITIAL SHOT LIST

We have made a solid start planning the first stage of our filming; we have modeled our shot list on one shown us by a professional film maker last week.

RESEARCH: RESTAURANTS

Our location recce was successful. After looking at a variety of restaurants for our opening scene, we chose these as our final two location shoots.  The place is a convenient setting and has the look of what we imagined, as well as being a safe environment. 

This is the interior of the restaurants, however we are only allowed to film in the downstairs staff eating area but it still has the same effect of the restaurant feel which is perfect for our film opening.