Bad Bootje and Botox Bo presents: BSA 3

I am changing the events from her entering the apartment a bit: Actually, she has a low battery on her phone, I'll establish this in the beginning when she's talking to her mum. Firstly she sees the paintings across from the front door, she looks at them, although now they are more abstract and she has to look more closely to figure out that they have a demonic subject matter. She frowns at this obviously and heads into the kitchen next, here she trips over the chord, opens the blinds and checks the dusty cupboards, where she also sees a bloody and very sharp looking knife. (She leaves her bag at the front door when inspecting the paintings). Her sister texts her about the condition of the place and she says its alright, the sister does put emphasis on the washing room which is apparently full of dirty laundry, she walks down the hall past the laundry and into the lounge. She has an added urgency with the phone battery dying, she doesn't want to use a PowerPoint in ...

Alistair Fox: Coming of Age Cinema in New Zealand

I went back to  https://badbootjebotoxbopresentsbsa3yall.blogspot.com/2020/02/research-iii-chapter-i-part-iii-short.html  this blog post, which I did at the beginning of the project, where I highlighted what I wanted to achieve and broke down the story pretty deftly. So what did I lose sight of in my treatment? 1) The way it reads in this blog with her discovering the paintings is much better, it says that they were self-painted and I think I should change it for the second draft to be more like this, keep it more ambiguous as to the nature of these paintings and suggest that maybe it's just her sister's artistic nature showing. Make Olive's reaction more of a knowing eyebrow raise. 2) The sister should be more opposed to her watching the tapes, making things more mysterious as to why not and as an audience, we'd feel more inclined to keep watching in order to find out what's on them. Maybe have her go through a couple of tapes, she starts investigating a bit ...

Having just finished my first horrible draft for Klosterplatz 5 I have decided that I should map out my stories more before writing them, this seems silly because all I ever seem to do is map and never write, but when I did write my treatment it was much easier and much better having it mapped out well. So here is another short film that I wanna make that I've started a detailed mapping of: The concept: A man dies and is greeted by death, who asks him to prove that his life had meaning in order for him to be able to enter into a good afterlife. Beat Sheet: 1) Our main character is going for a job interview but tries to chicken out last minute as he looks around and realizes that everyone else applying seems much more qualified than him. He isn't able to escape, although awkwardly tries to. He does the interview although it doesn’t go well and he tells his family that he decided against the job, not feeling it fit with his ambitions and such. That he needs to focus more...

I finished the first draft for my treatment, and while the beginning is still the same as before (which means I think its surprisingly alright) the middle is kinda 'meh' and finally the end is really trash. It needs some work and I realized that as I wrote it the original themes and things kinda left my head - even though I did structure it out. The problem is I didn't actually check back on my beat sheet or anything, rather I just wrote it as I remembered it. This memory is understandably quite fuzzy because of how long ago I mapped it out.  The ending is really bad and I didn't even really finish it, I think I made a mistake in the plotting on the way but was too lazy to check back on what the original plan was. I'll go back and read that now and then incorporate the changes as I originally imagined them. After that, I will do a third draft, where I see how well it reads and what things need to be clarified or expanded/...

The coronavirus is currently booming, but its sudden popularity is actually really hurting our beloved film industry, with film releases and productions being delayed. Essentially its put the entire industry behind a month or so. The first article we looked at was this: https://www.odt.co.nz/news/dunedin/17m-film-studio-cards This $17.7 Million production studio could open a lot of opportunities in Dunedin and Southland, I didn't know this but the article mentions Jane Campion's new film " The Power of the Dog " which filmed in Dunedin recently. Which is ridiculous, on a movie like that we should all get some cable wrangling gig or another. The movie features Benedict Cumberbatch and Kirsten Dunst, which is also outrageous because the fact that this knowledge didn't reach my ears at the time means I missed an opportunity to get my ins with Kirsten Dunst. The article mentions the range of different locations that we have access to down here and I very much ...

James gave us some treatments to look at, these were very helpful and informative for me to see how others in the industry have done it. The biggest takeaway for me is that treatment is a very loose document and can be written in infinitely different ways. The ones we got to look at were for successful feature-length films as well as speculative films that never actually came to be. One thing about the treatments is that while they were all done for feature-length films the actual page varied significantly between the different films. This really is about how well things are communicated at that point in the process, with the spec treatments being more bare-boned and not diving into the same amount of detail as say The Terminator or Kubrick's Shining. Cameron and Kubrick do a lot of planning I think and must have had really solid ideas of what their films should be by the time they pumped out those treatments. It's interesting though, seeing how each creator approached it...

James asked us to write up a character bio for our protagonist of our short film so I did just that, behold: My main character is the younger sister of a two-child home, her older sister has been sent off to college and had a big falling out with their parents regarding her faith. Olive, our protagonist and the younger of the two sisters, remembers this argument clearly, she sat by and awkwardly watched it happen before eventually scuttling off to her room. Her sister is a whole 5 years older than her and at the time she was only 11 years of age. The discussion was above her own understanding, she thought little of it and as a child still accepted things for what they were as you do before puberty hits. Her sister, Elisabeth, or as she always addressed her as, Ellie, left the house soon after - at the age of 16 her sister was legally allowed to leave home and that's exactly what she did. Her sister's actions did not leave Olive unscathed, with her parents becoming more focu...

For ages now I've wanted to watch the movie Brawl in Cell Block 99 , the title sound offputting and looking at the hard copy cover art makes that name seem even more like a shitty grindhouse movie than it did. However the director is what intrigued me so much about the project, he is a writer turned director who makes movies on his own accord, fully auteurist.     These posters are so fucking bad, they do the movie an injustice. I was interested in the movie because of the rave reviews it had gotten and because of his previous debut feature: the western horror Bone Tomahawk . I didn't think an amazing amount of the movie upon first seeing it but have come to see the great parts about it because of the number of YouTubers who sing its praises.  Red Letter Media made a video that cemented the movie as unique and special in my mind, and encouraged me further to check out the directors' other work: Finally, I was pushed over the edge by what I heard abo...