I didn’t use this footage because I was testing out whether I wanted to follow them while they held hands or let them walk away from me holding hands while I stayed stationary. I found that I preferred to follow them so I could keep the focus on the held hands.
Do Not Stand At My Grave And Weep
This footage was quite tricky to get because I was standing on the opposite side of the road, and every so often a car would pass by in the shot, so I had to shoot it quickly in between cars driving from the left and the right. This isn’t the problem with this shot however, I just didn’t like the way Lola (grey coat) moved over to Virginia (blue dress), because instead of taking steps which I later directed her to do, she was taking more of one giant leap which made the whole thing look less natural.
I didn’t use this footage because I didn’t like the way it looked. I just wasn’t satisfied to how the shot was composed, and I didn’t think it looked professional enough. I was fairly happy with all the other shots I shot, save from a few, and I felt like including this shot would take away from the overall look and feel of the piece.
I didn’t use this footage because I couldn’t find a place for it to fit in with my other footage. I’d already filmed a lot of the footage in that garden, so I felt like I didn’t want anymore shots that used that setting, because I didn’t want it to feel too repeated. I was originally planning to have this shot mirror the final shot of the film, having Virginia (blue dress) sit there on her own instead of next to Lola (pink dress) like she would do before, so I was a little reluctant to not use this shot. However, I decided since I didn’t want too many shots in my garden, and I didn’t really like the composition of this one that the end shot on it’s own without the mirroring previously would suffice.
This was the first take of the last shot of the film, however, it was unusable because Virginia looked at the camera whilst walking up the steps to my house, so this was more of an outtake situation than a aesthetics situation. Luckily we managed to get the right shot in the second take.
I didn’t use this footage because I really didn’t like the lighting and composition of the shot. I shot this shot at dusk, when it was beginning to get dark outside. I shot it by bringing my duvet and pillows done into the living room of my house for convenience reasons because filming on my actual bed would be too tricky because it’s right in the corner of the room and I wouldn’t be able to adjust myself and the camera for an overhead shot. However, my living room is painted a cream shade, with brown carpets, so when it gets to dusk if you film or take a picture in there, the end result is a very warm, yellow shot, which wasn’t ideal for this shot. So I decided to scrap this shot entirely and replaced it with footage I shot in Barcelona at a later date.
Heart To Heart
This is the footage that I shot for my first idea for the poem Heart To Heart. Although I ended up not using this footage and switching to another idea, and then ultimately not using this poem in my final film at all, I shot quite a bit of footage for it, so this is a selection of my favourite shots from that filming date. Luckily the filming of this poem didn’t take very long, so it wasn’t a whole lot of time wasted. I just wasn’t satisfied with the footage for this poem, because I thought it looked ugly and unprofessional compared to the other shots for the other two poems I had filmed on the same day.
I think that trying to do four separate films for four different poems was asking way too much of myself, and I overestimated how much time and resilience I would have, and I worked myself too much. After filming three out of four poems on this filming date, I was completely physically and emotionally drained, so after a while of reflecting I decided that I wouldn’t be using The Trembling of the Veil, or Heart To Heart. I knew that if I focused too much on completing all four films, the quality of these films would drop, and I didn’t want to prioritise quantity over quality. I wanted to have a polished and professional end production, and that wasn’t going to happen if I was overworking myself trying to film, essentially, four separate short films, all in the space of about a month. Therefore, I decided to scrap working on the Ginsberg and Dove poems. I did feel sad about this, especially because I’d put so much planning and work into it, but I don’t regret my decision because I would have completely overworked myself. There are still the research posts I did about these two poems on my blog under the tag ‘scratch’ however.