#EDIT: I changed the dialogue at the final section--didn't like how it turned out initially

[yuus-sentient-teddy]

"You've been staring at me for a while. What are you thinking?" Chaco turns the rest of his body so that he's now sitting fully facing you.

"I don't trust you," you declare simply. That was you, wasn't it? Not one to beat around the bush and carrying yourself like a school teacher, all proper and head held high. But there was a whimsical air around you that anyone who spent plenty of time with you would notice, and he has spent plenty. Put simply, you were like a character from a dramatic comedy. The seeming straight, no-nonesense friend with a soft and caring heart.

He quirks a brow and leans forward. "Oh? Why is that?"

"You smile too much," you say, folding your hands on the table and also leaning forward. "And your smiles are too perfect. I'm willing to bet that you're hiding something. No one can smile always perfectly."

"But what if that's how I am? Besides, there's always something to smile about. Like our lord."

Unwillingly, your lips pull up into a smile. "Can't argue with that," you concede. "But then, what else are you thinking that makes you smile?"

"Have you always been this curious about me? Can't get me out of your thoughts?" he teases.

"Yes. You're very interesting." Another simple declaration from you, the whimsical, no-beating-around-the-bush you. You even bob your head in a nod!

The almost deadpan delivery makes him want to laugh, but at the same time, he feels his cheeks start to warm. So, to hide the fluster, he lets out that laugh and rests his chin in his palm. "You know, I could say the same for you too. You're not like most of the other skaters here. If anything, you and Tuxedo Sam's Fragaria might get along."

"No offense to him, but no thanks."

That makes him laugh, much harder than before. He actually turns his body so he could double over, which causes him to miss your satisfied smile and small giggle. Once he's done laughing, he says, "The others are going to love hearing that. Say, did you know you can get a special type of ice cream down the street?"

"I knew it! This is banana ice cream!"

Chaco just smiles as he bites into his spoonful.

"You said there was a special type of ice cream sold here, but this flavor is common," you say.

"Take another bite," he says.

You narrow your eyes and stare at him for a second too long before taking another bite. Your eyes then widen. "Oh! There's a frozen banana slice in here."

"And that's what makes this ice cream special. The other parlors in the area don't have this trait, see?"

You mull it over, taking another bite of ice cream, and nod. "Mmyeah."

And that's how things are between the two of you. Whenever he suggests something, you would take his word for it. Of course, it was not without staring at him for a second too long, as though you could parse the truth out of him by searching his grey eyes. Despite "tricking" you many times (always harmless tricks, mind you), you never backed down.

That brings us to now: the two of you sitting on swing sets staring at the dawning sky, after Chaco said he knew of a quiet place with a great view of the sunrise.

"A while ago, you said you didn't trust me," he says. "Do you still not trust me?"

"Yes."

The way the answer is delivered so whimsically serious makes his smile genuine. "But you still hang out with me. Shouldn't you be more wary?"

"Yes, but if I'm too wary, I wouldn't be able to get to the bottom of what exactly is making you untrustworthy."

How paradoxical, he thinks. Not to mention, it was dangerous of you explain your plan so plainly to the very person you wanted to know more of.

The strangeness of you was so amusing just as it made you so endearing.

"So far, I've figured out that you like pulling friendly and clever pranks, and that you're not entirely untrustworthy. As a Fragaria, you would have the want to protect your lord and the kingdom, but even if you weren't, I can't see you as someone who enjoys hurting people. Whenever we hang out, nothing malicious happens."

"But what if the next thing we do does hurt you?"

"You wouldn't want it to happen and you wouldn't let it. That's not you. Besides, I'd be disappointed. I look forward to whatever silly surprise you have for me."

Chaco considers this. "So you hang out with me because you look forward to that?"

"That's half of it. The other half is that it's just very nice hanging out with you, even if we don't do anything exciting." You pause for a moment to admire the changing hue of the sky. "Like now."

The sun is now beginning to peek over the trees. Chaco immediately thinks of how perfect you look smiling under the golden light.

He likes gullible people, but you are a very special and very interesting exception.

#EDIT: I changed the dialogue at the final section--didn't like how it turned out initially #chaco (fragaria memories) #fragaria memories #A/N: I don't know what came over me. The scenario immediately came to me after seeing Chaco's countdown art #I just knew I had to get the scenario down asap #I'm tagging this as a reader fic--there was no specific character in mind. Just a character called “you” #anyways I'll see you all after *checks clock* some hours pass in which I'm asleep #fragaria memories reader #fragaria memories x reader #🧸🖊writing

[ba-hons-film-blog]

Film Narrative 2 - Fiction Project Critical Reflection:

Initial Idea, Story and Script:

The initial idea came from Euan, who had the broad idea of a door-to-door salesman trying to sell something. We then expanded the idea to have it follow a desperate, morally dubious salesman, who grows increasingly desperate in his efforts to sell his products to a vulnerable old woman. We liked the dubious morality of the idea, and the inner conflict this would give the (unnamed) Salesman. We also thought the two characters, who both had clear but conflicting objectives (the Salesman needs to secure a deal to provide for his family) and the elderly woman, Mrs Beale (who simply wants some company, and isn't interested in the Salesman’s pitch) would help to give the film some good narrative thrust, as Mrs Beale casually dismisses the Salesman’s pitches, and the Salesman then has to try a new, more dubious tactic to secure his sale.

I feel my main contributions were towards coming up with various story beats and character developments for the idea, and making some dialogue revisions to Euan’s second draft of the script. This is due to my interest in storytelling, and script writing. I personally feel like I made a good deal of suggestions for the plot which made it into the final script and feel my dialogue suggestions, while somewhat hurried and not overly polished, helped to expand certain beats where I felt the script rushed past a moment that could be used to create more tension or character. Overall, I feel happy with the final draft of the script, although I feel it was left slightly late, and would have liked to have had time to submit/review a few more drafts done by either Euan, myself or another member of the group, so as to fine tune each and every aspect of the script.

Pre Production Documents:

(For all pre production documents, go to this link: https://drive.google.com/drive/folders/15hR7u8XKGlIGuBE3ye0p2FvMvKXCiAJS)

While I did have some ideas for the films style (suggesting ideas like the tv show White Gold) and some ideas for certain shots which I shared with the group(like the opening shot were we see the Salesman who the neighbouring door slammed in his face), I feel I was more engaged with the story and script side of the project than I was with the production side. While that is more what I am interested in, I feel in the next project, I want to get more stuck into the pre production aspects, even if just for some variety and experience. I did do the logline and script synopsis, but that wasn't too far removed from my work with regards to the story and the script.

I think the group did a great job with their production documents, creating a clear sense of the film's style and cinematography. The only issue was sometimes a lack of communication between each person meant certain documents did not 100 percent lineup with each other (like the shot list and the storyboards feature differing shots) but overall, the documents weren’t too inconsistent with each other.

Editing:

I think the picture edit went well. This was my third time using avid (I had previously used it to edit a different scene from “Lethe” and a film of my own) so my this point I had more of an understanding of how to use the software. I tried to create a slow paced edit that generally stayed on the character of Eve as much as possible, as the story is told from her point of view. I feel I could have done a better job with regards to keeping the group up to date as my edit developed and getting their feedback, but I did get some good advice about my second edit from Zoe and group 4 in one tutorial that I took into consideration when working on my third edit.

I also attempted a sound edit using a free trial of Avid Ultimate, which was a good learning experience although ultimately I didn't feel too happy with my finished product. While I managed to raise the levels of the appropriate sounds, and avoided any jarring audio rises or any unnatural silences, I don't think I chose the best background sounds (I used the corridor and general hospital sounds for the whole video, as opposed to just using them at the end. This made the scene feel a bit too busy and overwhelming, and hearing some ambient room noise and beeping sounds throughout instead likely would have been a better choice). Ultimately, I felt the scene worked better before I added these sound effects. My edit didn't manage to export in time as well. We ultimately went with Rosie’s edit, although I still hope to rework mine at a later date.

Crit Feedback:

The logline and synopsis were praised for being intriguing (with regards to the logline), effectively summing up the events of the film (with regards to the synopsis) and overall being well written and well formatted. One shortcoming (or something that group 4 was complimented for having that we didn't have) was not making reference to the movie's style and genre. Additionally, while not necessary, a document describing the key characteristics of the main characters would have been a nice addition.

The rest of the pre production documents were well received. The storyboards by Cal were well drawn and gave a clear idea what the films cinematography would look like (although could have done with some text beneath each image), the costume/prop/set documents by Rosie gave a clear idea of the films style (as did the moodboard, although we were told some comments on each of the images would have helped) and the shotlist by Robbie was well formatted, and clear and concise with regards to what each shot would feature (despite some confusion over some of the abbreviations and the fact the storyboards and the shotlist did not completely line up).

Script Feedback:

(to follow. Apparently, Euan has not received this from Paul, which I will ask about and add once we have gotten the feedback)

Edit Feedback:

Here is the feedback Kieran gave me for my edit, along with my thoughts about it and how I would go about it differently in the future:

“Good professional practice with leader.”

“Atmospheric start, but the out of focus POV shot lasts too long.” - The reason this lasts for so long is to allow the character of Abe to slowly come into focus, to show how Eve is slowly waking up. However, I could definitely start the clip a few more seconds in and maybe cut of a second at the end, or just have a few seconds of a blurry Abe without a change in focus, although that might not be as effective.

“At 01:00:31:00 the scratching of the head doesn’t communicate tension and feels awkward.” - While I initially choose this part of the clip because I thought it would be interesting to have Kane doing something other than silently brooding, thinking about it again, I would agree with this, and would solve it by choosing a different part of the clip where Kane is simply standing still and looking ahead.

“It’s a good 40 seconds before anything really happens, which is too slow.” - I would agree with this - perhaps 20 seconds of build up could have been a good balance?

“Good reveal of the space at 01:00:47:04, using him turning around.” - Previously, this shot had been criticized for being too brief and seeming a bit random compared to the closer up shots used elsewhere. Despite this, I had kept it, as I felt it properly established the geography of the room and showed all the characters in relation to each other, so it was nice to hear Kieran liked this.

“The look at 01:00:59:00 is too short, allow the look to settle for a few frames before cutting to what someone is looking at to make it less jarring.” - I would agree with this. I'm not sure why I cut this so early, maybe the actor only looked over for a second and I worked with what I had, but I imagine more likely than not this was just an oversight.

“This whole section up to 01:02:13:00 is very good, but missing a reaction from him to her asking for the bed pan.” - I think I stayed on the shot of Eve instead of cutting to Kane purely because I liked his line delivery in that shot, but I could have either looked for a shot of Kane with line delivery of a similar quality or cut to Kane reacting to Eve’s line and then cut back to Eve and had Kane’s line.

“The watch pickup ECU is a little quick, as you haven’t established the watch previous to this and it is a key object.” - I would agree with this, and feel it could be solved by either having the watch appear earlier and only having it appear briefly here, or only having it appear here and holding on it longer to make up for that.

“Generally the pace is a little slow at the start and end, and this scene can’t sustain longer than 3 minutes.” - With a runtime of 3 minutes 23 seconds, and Kieran stating the scene couldn't sustain a runtime of over 3 minutes, this was understandably deemed too long. While I was going for a slower pace as opposed to a fast one, it may have been possible to have found a middle ground between the two. With the opening, I have already said that it could be whittled down to about 20 seconds. The ending might have been a bit more difficult to cut down, as it isn't just Eve lying in bed but going across the room and doing various things, but I still think I could have cut it down a bit. This could have been done by minimising the time Eve is simply crossing the room and looking through the bag, and giving a good amount of time to the more important beats, like the watch, the photo ID and the other bed.

Overall Reflection:

I think some more communication could have been a bit better, and we would have benefitted from a few more meetings, just to update each other, make sure we were on the same page and make sure there were no major differences in our work. I personally would have liked to have spent even more time fine turning the script, and getting in a few more drafts, but I am still quite happy with the submitted work. Despite this, I think everyone did a good job at their respective jobs and turned in work of high quality, and I look forward to working on the independent project with this feedback in mind.