Film Adaptation – Introduction to Our Story + Pitch
Film AdaptationMeet the Crew
- Finlay Hearton – Producer
- Sophie Marshalsey – Director
- Francis Mackenzie – Writer
- Oliwia Szostka – Cinematographer
- Gaby Hafner – Sound Designer
- Ethan Lennon – Editor
The Story – Proof of the Pudding
Westbrook is a high-profile editor working at Minerva magazine. Whilst on a walk in the park, he is confronted by old friend and aspiring fiction writer, Dawe. Dawe interrogates Westbrook as to why he won’t print any of his stories. The argument concludes when they realise they have fundamentally different views on how people react to tragedy. Westbrook believes that people react to tragedy through theatrical, Shakespearian prose delivered emotively. On the other hand, Dawe believes people react using everyday language and vocabulary and unemotionally. Westbrook has been refusing to print Dawe’s story because of his character’s downplayed, monotone responses to misfortune. To prove his theory, Dawe devises a plan to show how a real person would react to tragic news. The two head to Dawe’s flat to leave a note for Dawe’s wife telling her that he’s leaving her – and plan to watch her reaction in hiding. Upon arriving at the flat, Dawe finds a note from his wife informing him she has run away with Mrs Westbrook. Dawe’s reaction contradicts his theory, as he breaks out into a Shakespearian monologue in his grief and shock. Westbrook similarly disproves his theory by reacting dispassionately and nonchalantly.
Our Approach to Story
Our main deviation from the original story is changing the setting to Edinburgh in the 1970s at the height of print journalism. The wives of Westbrook and Dawe will also be explored through greater characterisation and involvement in the story.
Some initial ideas included:
- During the argument between Westbrook and Dawe, we wanted to cut away to show people reenacting their reactions to tragedy – either from Westbrook or Dawe’s perspective. Inspired by Edgar Wright’s fast-cutting editing style for a montage sequence.
- When Westbrook and Dawe plot to prove their own theories, we get a parallel narrative focusing on the wives. Dawe’s wife leaves him because of his financial instability and inability to provide for her and support her opera career. She leaves in order to follow her aspirations as an opera singer. Whereas Westbrook’s wife leaves him as a result of his workaholism and emotional unavailability.
- Keep the ending a surprise until the plot twist reveal. This will mean carefully planning the shots of the wives in conjunction with their husbands conducting their experiment.
Visual Ideas
Taking inspiration from Thelma and Louise for the two runaway wives and the depiction of newly independent women.
Following the reveal of the note from Dawe’s wife, we thought a single spotlight projecting down onto Dawe as he laments theatrically would be a visually striking metaphor.
Through a match cut, we would come back to the kitchen to reveal Westbrook’s unbothered reaction.
A final scene was discussed to reveal and expand on the nature of the relationship between the two wives. It was discussed that it may be a romantic relationship, as opposed to a strictly platonic one.
Characters + Production Design
We’ll need to cast two male and two female actors in their 30s to 50s – or with a playable age in that range. To create a believable 70s Edinburgh, we’ll be sourcing 70s era clothing to fit the characterisation of each role. Specifically focusing on items such as trench coats, briefcases, and hats for Westbrook and Dawe, styled to fit their respective socioeconomic status.
The wives of Westbrook and Dawe will be a similar age. The costuming will be reflective of 70s housewife fashion, and upon running away, will shift to modernised/trendy clothing that is less conservative – reminiscent of Thelma and Louise.
Locations
- A street or park in Edinburgh – film in a way to make it seem like a metropolitan park/street.
- Dawe’s flat – use our own flats. Set design to create the desired effect.
- Theatre stage – get in contact with local theatres and drama/theatre societies to request access.
Directorial Role + The Pitch
