Moors Shoot 22/12/17

On this shoot we were shooting the scene where Kat and Toby meet HIM and finally become friends.

This shoot was a battle of time as we were shooting a twilight scene.we had around 20 minutes of perfect light were it wasn’t to light and wasn’t too dark. This meant that we had to be very efficient in shooting to the time scheduled. we did this quite well, with only a few shots needing multiple takes.

By using a multi-cam set we utilised 2 cameras in use in one scene.This allowed us to get different angles of the same shot to be able to choose thew better angle in post.

This scene will need loads of post processing with colour correction and exposure boosting due to some scenes being to dark, however some scenes are perfect and I think that the shoot went very well and all to plan.

FLICKER All Cast Meeting

We had a cast and crew meeting on the 10th of December at 10am sharp with cake and tea. We had the meeting to present the cast with the narrative of the story and to have them all in the same room while doing this. This helped to bring everyone up to speed and allowed them all to bounce off each other, like how we would on set.

We also used to time give the actors all there call sheets and to clarify when they are shooting and how long were shooting. Along with clarifying any queries with the story or certain scenes.

I think this meeting was very successful and boosted confidence in everyone’s roles and with each other. It also gave time for everyone to get to know each other and see how we’ll get along on set.

“FLICKER” Production Begins

Production has finally started on our short film! we thought best that the first shoot be the easiest and so getting stock footage was the best.

We got in contact with Keighley’s AGM Colour to organise a short filming session in their printing warehouse to get some footage for the printing press cut away. This would add hieghts of production value to the film and save lots of money on having to buy stock footage off the internet.

We were there for around 40 minutes and filmed as much as we could, getting many shots of different machinery in a variety of different ways.

Alfie also colected sound from the machienes so that we had authentic sound from the location and saved time having to search for stock sound.

Nothing went wrong and eveyone who worked there was lovely and accommodating.

Hopfully we can say the same for the next shoot on the 18th.

Characters in Short Film

Creating a Character in a Short Film

The most important aspect of character creation in film is making the audience care about them, something that is exponentially harder in a short film simply due to the fact that you have substantially less time to develop the character to its fullest extent as one can in a full length production.

Making the Audience Care

To start with, making the audience care follows a handful of general rules. One aspect is the viewer’s imagination, many films have had romantic scenes for example in which there is no dialogue, only music and we, the audience, fill in the blanks ourselves. This freedom of interpretation with characters, the ability to impose one’s own ideas on a character or scene, helps with relating to a character.

Another integral point is the characters ‘itch’, their drive to perform certain actions. A mother characters ‘itch’ in a drama for example may be to work two jobs in order to provide for her two children. This is naturally a very stereotypical example but it holds weight nonetheless as a prime example of a character with a goal, a motivation. To see a character working towards something humanises them and allows the audience to relate to them, another important factor in making a character likeable.

The aforementioned importance of relating to a character is perhaps the most important of them all as some degree of emotional resonance is required to understand a character, any character be it hero or villain. If the audience has no avenue through which to invest themselves in a character then they won’t be able to bring themselves to care what happens to them.

In Relation to a Short Film

In the context of a short film as compared to a full length feature film or TV series everything has to be condensed; characters still have motivations, back stories and blanks which the audience fill in themselves but for one you can only develop a small handful of characters at most due to time constraints and secondly you have to exercise efficiency with your shots in order to both develop a character and not spend so long making us care for the character that there’s no time for them to actually do anything.

Target Audiance

Our Target Audience

There are four different main sections that an audience can be broken down into when looking at who is best to aim your film at. The four main categories are age, gender, class and ethnicity.

Age is a major factor that supposedly affects a person’s choice as to what they prefer when it comes to a genre of film, for example it is thought that people of older ages will prefer slower paced films and television shows such as detective or period dramas. Whereas younger audiences are expected more to like the faster paced films such as action and horrors/thrillers. The assumptions aren’t very accurate anymore they may once have been, but going based on those stereotypes we are going to be aiming to create our short film for a younger audience as it is science fiction.

Gender is another key element, as again there are general stereotypes for gender film preference. Stereotypically females typically prefer romantic comedies and romance films, whereas males typically prefer more dramatic and action filled films such as hero or science fiction films. Based on these stereotypes we are more likely to aim at the male audience as there will be a bigger audience percentage that will be attracted to our science fiction film.

Class is definitely one of the biggest features that affect film choice as class typically outlines a person’s lifestyles. Because of this it can influence what appeals to different individuals sometimes class has such a big effect that this is the only thing that can guide an individual to choose what film they are watching. By having different classes, it makes it easier for film makers and producers to aim their films as a specific audience because they can research into the different classes and their preferences to make sure that their film is best suited to the target audience.

Finally ethnicity is probably the least effective of all of these factors because nowadays due to all of the ethnic and culture crossovers. There is a much smaller stereotype about races because within most films now there is someone for everyone to relate with due to diversity within films.

Our audience – Caucasian, middle class, male within thirties. We have chosen Caucasian because it is known that Caucasians tend to watch more films and television than others. We selected middle class as our primary audience as they are a large section of consumers of television and films. We chose males as our target gender because even though science fiction is mainly gender neutral it does apply to males more, which is something that we won’t be focusing on when creating our production. We chose the age of thirties because it is most common that at this age people don’t really have a film genre preference. So they aren’t attracted to a film just because of one thing such as special effects. Finally we have come to the conclusion that our secondary audience will be aimed at teens aged between thirteen to eighteen, and that our tertiary audience will be people of the age sixty-five plus. We think that it will appeal to these audiences because within our film we have both audiences included within the cast so it should appeal to both of the audiences.


We met with one of our main actors Libby or “Kat” as shes called in the film to discuss plans for shooting. In this “meeting” we aranged shooting dates and locations, character motives and traites, costume and read over the script giving a detailed shot by shot run through of the films story. This was to ensure the she had the right mindframe for the character as the personality was notably the hardest out of the main 3.


To ‘break down’ is to take something apart into its core components. When this term is applied to an audience this definition transfers over largely intact and as such we ask the question ‘What are the core components of an audience?’ and come up with the following sections; age, gender, ethnicity and class. There are other factors but we shall get to those later.
Class relates to audience due to simple fact that one’s class is the outline for one’s lifestyle. This has a massive amount of influence over what appeals to an individual and as such it’s an integral point of consideration in the decision making process as it is one of the things that allows for a producer to tailor their production to an audience type. For example our production would be targeted at the middle class as they are the primary consumers of mainstream media.
Age is another important factor due to the effect age has on a person’s character; with age comes wisdom as they say. Taken literally this suggests that older audience members prefer slower paced, introspective productions such as detective shows or period dramas like Downton Abbey. Younger audiences however are generally more inclined to a preference for fast paced action piece. Obviously this is a sweeping generalisation but we can still learn something from it. Based on this alone it would make sense that our target audience would be younger rather than older.
Ethnicity is less important in the modern era due to the fact that there’s a lot more cultural crossover between races and as such there’s less of a stereotype as to what movies each race prefers. Furthermore, races are featured with more and more diversity in film and as such in most every film there’s someone for each viewer to identify with.
Gender is the final significant factor to consider when breaking down an audience. There tends generally to be a marked difference in the filmic preferences of genders. Stereo-typically men would prefer action sequences and testosterone fueled action heroes whilst women would prefer a romance or romantic comedy. This is always something to consider when discussing the demographic of an audience.
Our Audience
To conclude, based on these factors our target audience would be Caucasian, middle class men in their 30’s. To explain;
Middle class – Middle class people are the primary consumers of television and film and as such it makes clear sense to target them primarily.
White/Caucasian – Caucasian individuals also tend to watch more films and television as well which stereo-typically goes hand in hand with the working class
Primary age: 30’s – People of middling age tend to be a sort of middle ground for preferences in film; not drawn in completely by pure action, special effects and excitement and with some appreciation for the slower, more thought provoking pieces that stereo-typically appeal more to older viewers.
Secondary age: 13-18, Tertiary age: 65 plus – these two ages are the two extremes of a viewer base and as our film includes both of the ages preferred styles of film we can safely label them as secondary and tertiary audiences.
Gender – Gender tends to be mostly neutral but sci-fi stereo-typically attracts men more than women as a general rule. It’s not particularly something we have to focus on when filming.


James shot and edited a video that I helped on and this is what the final product came out like:

We are humans, we have a lot of experience in understanding how characters behave. Even with texts that don’t feature humans – it would be foolish or art-house to create characters who are unrealistic.

If we can’t relate to a character do we really care whether they succeed or not. In every story we’ve ever read we for at least one moment consider ‘what if that were me’?

A protagonist should certainly be active. It is their job to move the plot forwards. If Luke didn’t really give a sh*t that Vader planned on expanding the Empire by any brutal means necessary, you wouldn’t really have a Star Wars Nonology (I patented this word, it is mine now.)

Internal or external – a character’s motivations shape all their decisions. We as viewers have our own motivations. They might not be as far-fetched as plunging a ring into Mount Doom or finding the Lost Ark, but still, they’re there.

Spooky stuff makes people move quicker.


This makes a character more realistic. If you can’t imagine an omnipresent soliloquy going on in someone’s head – tearing their decisions apart, then they’re a very dull character.

Anton Chigurh is a beautiful character. People come away from every film and know something about a character. In Indiana Jones, he doesn’t like snakes. It’s not quite as simple as that. People aren’t as simple as that.

Kat in our film, for example, is complex as she is provided with her emotional turmoil in the realms of her distorted father figure – this explains why she is so interested in gaining another.


We feel it’s important to storyboard at the same time as the script is being written in order to clearly visualize every second of film. I personally love story-boarding – it encourages excitement for the actual ‘look’ of the film. It feels as if it’s coming together nicely. It also encourages us to think more logistically about how we will execute a shoot.


This image shows us in a meeting regarding our thoughts on whether the shots are appropriate and work well with the script.


At this stage, we have constructed 56 frames which equates to about 2.5 pages of script, or 2 minutes of footage. Each frame is unfortunately not as well-coloured or polished as my GCSE work.


A gorgeous, but unnecessary amount of detail was used in the GCSE trailer. Perhaps if we had focused more on shot framing and focusing and movement, the trailer might have been better, and less time would have been wasted. As long as you can understand where the subject is in the frame, what time of shot it is, the equipment; lenses and camera information i.e f-stop, and most importantly camera movement – you’ll be good.

Here is our preferred, more efficient layout. Less space is wasted in text boxes. sb layiout

Despite the aversion to detail – it is important to add some details in to strengthen the mise-en-scene. For example, here – I have a clear image in my head of what I want Kat’s bedside table to feature. In a couple months time on a stressful shoot, will I?


Uses and Gratification Theory


stuffthe most important part of this ‘basic model’ for us is the ‘entertain’ section, particularly the escapism part. Sci-fi and Fantasy are the two genres that most facilitate escapism. This is largely due to their setting, a reality that is usually so far removed from our own that we can ‘escape’ into this universe and not think about our own lives. When watching Star Wars for example you become absorbed in the story of heroes and villains, of star ships and laser guns and you don’t think for a moment about how it relates to your own existence. This is the purpose of sci-fi.

Even in productions like our own that have limited sci-fi elements and focus more on characters (soft sci-fi) the principle of escapism still applies heavily despite being set in a world very much like our own, perhaps even more so in a sense. It could be suggested that a sci-fi set in a world like our own in fact facilitates a greater degree of escapism as it becomes much easier to inject oneself into the narrative.




Catharsis; “the process of releasing, and thereby providing relief from, strong or repressed emotions.” This is the traditional interpretation of the term catharsis as coined by Aristotle sometime in the fourth century BC. Literally meaning to cleanse oneself emotionally, the term was picked up first by literature and, much later, by film. In the context of a story catharsis is the moment of relief when the villain is defeated for example, or when the hero escapes a trap. Every film worth its salt has a moment of catharsis, romances have the characters finally fall in love, action has the hero defeating the villain; it goes on.

By its very nature catharsis can occur several times over the course of the film and to a degree it is dependent upon the viewer and what they view to be a stressful scenario. In our short film for instance we have three major points of catharsis in the plans; finding out the old man has powers, discovering he is an alien and the suggestion that he has survived at the end. These points of catharsis bring me onto the next point; its not always about stress in the traditional sense, it is more akin to anticipation in some cases. What defines something as catharsis is the release, not the emotion itself.
Due to the nature of film making there are likely to be several more instances of catharsis on a smaller scale but they have not been fleshed out as of yet as integral to the plot. If more moments end up our film, they’ll likely be spontaneous or incidental additions.

Binary Opposition

Binary opposition is essentially two concepts that are the opposite of each other; hero and villain, man and woman, young and old, kindness and cruelty. All these are very simple examples of the concept. It more predominantly applies to a media text in regards to characters. In our production the binary opposite is that of the uncle and the alien; both are seemingly older men and yet that is where the similarities end. Where one is gruff the other is gentle, one is rude and abrasive whilst the other is considerate and kind, loud and mute; it goes on.

Binary opposites always have a link in some way, shape or form otherwise they wouldn’t really be considered opposites, they’d simply be unrelated. In the traditional example of hero and villain the link is usually their point of contention; the princess, the kingdom, the world, etc. The common link between our characters is Kat, she is what forces them to interact within the plot at all and as such provides them with something in common with which to establish their ‘binary opposition’.

Todorov’s Three Part Structure

In perhaps the best simplification of narrative structure Todorov tells us that every media text follows equilibrium, disequilibrium and resolution. In our production the equilibrium would be the point at which Kat and Toby are communicating, meeting up and so on; the world is as it should be. Following this is the disequilibrium in which the alien is discovered and continues all the way through to his ‘death’ which is the resolution (his hinted survival is also part of this). In a sense our narrative structure goes against convention as the disequilibrium is not the negative point, the resolution is.

Todorov’s Five Part Structure

On a related note, Todorov also invented two additional parts which constitutes a five part structure; equilibrium, disequilibrium, recognition of the disequilibrium, an effort to restore the equilibrium and the resolution. The two new stages (third and fourth) add more detail to a structure when the concept is laid out, aiding the planning process. This detail splits the aliens arrival in two; the aliens arrival itself (disequilibrium) and the children’s discovery of him (recognition). The first attempt at resolution is the uncles attempt to remove the alien from his house, something that ends in seemingly tragic failure and, obviously, the other three stages are as above.

Colour Grading and LUT’s

For our short film with it being our own ideas and style we’ll have to come up with our own look. This will involve pre-production research into colour grading and how it will affect the feel of the film. The colour grade of certain scene can even effect the mood of the scene, for example: warmer colours are more associated with happiness and comfort, while colder colours are associated with comfortableness and loneliness. Moreover colour grading can be associated with different time periods and equipment it is filmed on. This can be things like: super 8 and super 16 film.

In our film we are going for a kind of style that takes inspiration from super 16’s filmic look while also making use of the current technology. This can be achieved by having similar colour science, with things such as grain and yellow mid-tones, but while using the same frame rate and sharpness in current camera technology.

In film most people use look up tables (LUT’s). These are presets that are done by professional colourists to give a shot a certain look and feel. By having these settings as LUT’s it allows you to have certain settings applied to multiple shots in a package that allows you to use it on multiple projects. We think in our short film it would be easier, but more time consuming to create a colour grade for each individual scene rather than trying to find a LUT that can cater to the short film as a whole.

We created a few looks that give the type of feel that we are going for:

Original Image:

Super 8 Inspired:

This grade is heavily inspired by day light super 8 grading. Super 8 has a very heavy emphasis on yellow in the mid-tones and heavy grain, with the addition of very soft images only achievable by turning off in-built sharpness in a modern day camera. In addition to the the shadows and highlights are raised to give it that soft non-contrast look.

Super 8 Cool:

This grade is very similar to super 8 daylight but similar to dim lit or night time shot super 8. With the obvious mid-tones being much colder and the image being overall darker as super 8 could not handle dim or low light as well as 30mm or modern day full frame.The blacks in super 8 and as well as super 16 are often not as dark or crunchy as normal film black, in addition to the whites not being true white and being more of a grey tinge. This is a staple part of both super 8 and super 16 film look.

Super 16 Inspired:

With super 16 the light and colour performance was much better than super 8. This allowed for better work in dim light and retaining more richer colours. With super 16 the mid-tones kind of role off of the highlights to create a nice soft look and the shadows are quite bright in some areas. It has less grain that super 8, but in this grade we decided to add a grain overlay to give it a more authentic look. In addition to this the colours are more well balanced, so we decided that we would decided to give it a more colder look that warmer. with magenta and yellows in the highlights and greens in the mid-tones to counteract.

Response To Film Pitch

Slide 1:
The pitch was a great success.We managed to get the origin of our idea across, with our research of short film conventions, i.e. catharsis, mimesis etc.Then Sci-Fi films and style influences.We were then able to ease the audience into our own idea.This part of the pitch was engaging with the audience, we believe that we gained their interest and conversed with them positively about the narrative, and shooting experience.We think that the audience took to the idea, and were struggling to pick out issues with the narrative of the story – we had planned this reasonably meticulously, so this was relieving. The flow of the presentation and our articulacy of the pitch was a great success.The only issue could be perhaps, we planned it so much that we failed to leave room for people to butt-into the narrative.
Slide 2:
Once we had completed our pitch we had time for feedback and questions from the audience. Mostly it was really good feedback, but there were also areas brought up that were areas for concern at the time. Some of these were able to be corrected on the spot and others were ones we needed to go away and look at in more detail to help have a smooth adventure through the process of filming and editing. We had a positive reaction to the original idea of using electric as the aliens power due to this allowing us to have freedom to show how he uses his powers in any way we can. We have managed to come up with the class that we may want to show what happened to the aliens parents through the tv showing a spaceship crashing into something.
Slide 3:The concern of the films length was the main concern that was raised from the pitch. With our ideas quite firmly set in stone we have a good idea of how long the film is going to be, however this doesn’t allow us space/time to add in an extra shots that may arise from on set ideas. To resolve this issue we are going to manage scenes, both on set and in post. We have already cut a shot that we were going film on the moore that would have prolonged the scene to an unnecessary length without enough content in the scene. In addition The main montage scene that we are going to shoot will be cut in post to be as short and snappy as possible to allow the feel and content to be put across easily. Moreover throughout the post production phase we will be pacing each scene by carefully splicing shots together. By doing this it would allow for longer scene that are more necessary and give more meaning to the scene/film.

Slide 4:

There were a few issues with our concept that members of our enraptured audience shook themselves from their awe induced silence to point out to us. *winks* For example, some people took issue with the idea of an old man being so exposed to the cold as he would be on the moor top, continuity issues relating to child actors potentially getting drastically different haircuts and how we intend to film the scene in which the old man falls down the stairs. The following slide intends to reach a conclusion as to how we shall resolve these problems effectively.

Slide 5:

The pitch was useful to us. We discovered that there was a clear issue with the timing of our short. It will not be short at this rate. This is undoubtedly the main issue. We seek to resolve this by cutting unnecessary or irrelevant scenes.

  • We had a scene in a morgue that was a stupid and ridiculous idea.
  • We plan on making the transition between the moors and the town shorter, like only seconds.
  • We aim to make the montage scene condensed, and the pacing of the rest quite generous with time. This will ensure that we have time to hold onto shots for dramatic effect, but also make the appropriate elements snappy.

We also have the issue of practical effects, which we need to research in detail until we have planned each one we will use in detail.

Slide 6:

Our next steps are:

Writing a fully-fleshed out treatment of the short film. Here we will see the scenes that are unnecessary/too ambitious.

Drafting out some scripts for certain scenes. Draw out our storyboard.

Looking at our actors – screen-tests etc. Seeing if they’re capable/the best person for the role.

Practicing practical effects, how will we do the flicker effect? Looking into dimmers as they give a more realistic imitation of a power surge.

FLICKER-Film Pitch

Catharsis: “Catharsis is an Aristotelian term. “Fear poisons life with anxiety” “Catharsis can flush the feeling from our minds; clears the air” “Catharsis is the sense of purgation or relief.”
It can be put as the “aaaaaaaaahhhhhhhh” moment. Watch either of these examples which show some of the biggest a-ha! moments out there.
Considering that a catharsis can be as minute as possible, and many can occur in just one text, what moment in the Iron Giant clip was the catharsis?
The realisation of his powers as an alien robot you say, superb! Well it’s important to notice that a catharsis is a device that truly makes a film.
Why are we interested in catharsis? Short films are short by definition and we feel that for it to be an enjoyable short, it needs some sort of key catharsis.”

Science Fiction
: “Another reason why we chose the Iron Giant clip was because it is an example of a Sci-Fi text. Why is it?
The advanced alien robot character might be a hint.
Science Fiction is defined as a genre having conventions of advancements in science or technology.
Because of the broadness of this genre, having such a wide scope for writers and directors to play with, there are so many different uses of the term science fiction – and it’s easy to forget that.
Most people, in thinking about ‘Science Fiction’ might sigh and think of tinny products like Doctor Who, Star Trek or Battlestar Galactica. On the other hand, people may leap straight to the bigger Sci-Fis; Star Wars, Blade Runner, or Alien.
Many forget about controversial texts which are less-conventional, i.e. Inception, Frankenstein, The Handmaid’s Tale, Ex-Machina. These are texts which don’t fully adopt the many conventions of Sci-Fi, and only focus on one.
The Iron Giant is again, an unusual Sci-Fi, as it’s only defined as being so because of its sole robot element.
Why did we want to do a Sci-Fi short?”

Because it’s cool: “Sci-Fi is a genre that allows for so many ‘cool’ things to happen. It’s a genre that is entirely speculative, most of the Sci-Fi’s out there present issues which could happen/have already happened. The iconic ‘A long time ago in a galaxy far, far away….’ tagline is a way for nerds to uphold the slightest possibility of some form of Star Wars situation happening at some point somewhere – it simply can’t be disproved. This way, Sci-Fi films can complete the utmost form of escapism – by creating situations so far from our own, that we may temporarily forget that our own issues exist in the 90 minutes whilst watching a film.
For short film purposes, much of Sci-Fi is based around an idea that is simply developed over and over until you’re left with something so epic that the idea is lost under all the layers of Hollywood ganache. With a short, you can explore an idea, and only the idea. The actors won’t distract you from it’s meaning, and there isn’t enough time to ruin the idea, unless you’re a remarkably bad filmmaker.”

: “Short films are used as devices to showcase a particular artist’s style. Our short film will need a particular style in order to follow conventions of the format.
Looking at films like Under The Skin and Ex-Machina we can see a bleakness in the way that the stories are presented both visually and dramatically. This is in stark contrast to many of the over-sensationalized Sci-Fi blockbusters. Some directors and artists carry their styles across their films. Wes Anderson for example is famous for his almost-symmetry, his technicolour wash palette, and his slow, calculated humour. Michael Bay on the other hand is famous for his over-use of slow motion, shiny objects and explosions. Each of these will have picked up their styles from other directors, authors and artists alike. Now it’s our turn to do the same.
What will influence our style?”

Influence: “Moonrise Kingdom provides our character material – the humour between them.
Stranger Things gives genre and setting, the retro-futuristic 1980s charm. We’d love to explore an 80s style in our short film.
E.T. gives the relationship between an alien and a child.
Donnie Darko provides thought-provoking dialogue useful in shorts.
Hunt For The Wilderpeople is genius for it’s use of comedy between the two lead characters, Taika Waititi knows best.
Her has a palette which is a bleak entanglement of Blade Runner and Donnie Darko.
True Detective provides both stunning and sinister visuals.
The Iron Giant gives the perfect sweet narrative and relationship that we aim to create in our short.”

: “Our idea goes like this:
A young girl and her friend encounter an old alien man who appears to have no recollection of where he is. His only method of communication is through the use of electrical devices.”

Brief Story


Themes: “We decided that some of the themes that should come out of our short film will be:
Coming of Age,

: “It’s an ambitious idea, but between the four of us, we’ve had a lot of practice. All we need to do is have careful time management, to be respectful of our actors and crew, and to think about the story the whole time. We are lucky in having access to a wide range of technologies, such as high-end Nikon DSLR cameras, lenses, and film-quality sound equipment. The fun side of the production can come in practical and visual effects, which will be used sparingly, but even so – practice with these will be fundamental.”

Question Feedback:

Media Costa Meeting

On the 2nd of October our group decided to meet to work on the narrative and characters of our short film. We were there for around 3 hours and it was actually surprisingly productive. We managed to establish a solid plan for the 4 main characters of ‘Him’, Kat, Toby and ‘Uncle’. By establishing these characters it allowed us to layers more texture to our story and make it have better meaning and arc. In doing this we established a basic story narrative to pitch to the class later on in the month. In the session Alfie came up with the good idea that the aliens electrical powers can also be used as a vessel to portray his emotions, which will help in giving the character more personality and making the audience warm to him faster. In addition to character and story development we also settled on the working title and length of the film. We decided that the film would be around 10-15 minutes long and that we will try and not making the film 15 min in planning as this will not leave room to add ideas on the day of filming. Moreover we settled on themes and feels of the film such as: Friendship, loneliness, coming of age, etc. The working title that we decided on was: FLICKER. Also we had lots of nice coffee :)