Filming Schedule

Wednesday 23rd Feb
House Scene
- At 47 Stroud Crescent, Roehampton Vale
This is the opening segment of our sequence, and forms the 'dream' which Julek is having.
We need to film several external establishing shots of the location, and then film the entire exchange between mother and son several times, from all the necessary angles/distances. We need to remember to include at least one close-up reel, and think about how angles can establish relationships of power between the characters.
Julek: Wearing nice, clean clothes representing how his youth and innocence is uncorrupted at this point. This is supported by the footballing props in the mise-en-scene to show the themes of hopes and dreams, and to establish how his home is a sanctuary for his character.
Mother: wearing archetypal, practical 'motherly' clothes, like an apron, to introduce her as a caring mother stock character.


Wednesday 23rd Fed
Forest Scene
- At Roehampton Vale
This is the climactic part of the sequence, which aims to contrast the boy's world and the world of the kidnapper. We need to film several reels of close ups to demonstrate the dynamism of the scene, which we could then use for jump cuts to give a fragmented and distressing feel.
Julek: Same costume, but becomes more distressed as the chase goes on.
Kidnapper: Dark, old clothes to signify his character.

Friday 25th Feb
Train Scene
- On a SouthWest Train

This is the 'real world' of the diegesis, and will be cross-cut with the dramatic sequence to disorientate the viewer. It takes place a few months on from the flashbacked sequence, during which the relationship between the boy and his kidnapper has developed. They have been living together on the road, but the audience is ignorant to this. This allows us to end our sequence with a heart-stopping moment when the kidnapper is reunited on screen with his captee, but the boy will not react adversely.
Julek: Dirtied face, more faded clothes and looking older and more mature beyond his age. This signifies the abandonment of his youthful identity
Kidnapper: Similar costume.

Friday 25th Feb
Station Scene
- At Waterloo Station 
Same as above. This will also allow us to take crowd shots at the restless station, taking inspiration from the opening airport montage in 'Love Actually'. Such montages enable us to create moods, tones, themes and ideas as well as narrative enigma, without necessarily forcing the narrative along. Permission was easy to obtain on the day from the station office.
Julek and Kidnapper: Same costume as above.

Saturday 5th March
Bench Scene
- Greenwich Station

Unfortunately, due to permission/licensing problems on the day (unlike at Waterloo), we were forced to extend our shooting schedule to allow us to lawfully film everything we needed to. Thankfully, this was an extremely short scene and would not have taken us long to shoot (only highlighting the futility of the necessary permission). Again, we had planned to film lots of pathos-inducing close ups, and be very aware of how high/low angles could be used to construct fear or sympathy. However, as explained in the other post, we were not able to shoot this scene - although we are not disheartened.