PRE-PRODUCTION: Visual Style Research & Choices

The visual style is what makes a Film or Television series unique and signature to that piece of work. It adds a cinematic quality to the work and enhances the appearance on screen as well as the storytelling process. Not only can certain aesthetics act as a visual aid on screen and amplify the creativity, it can also evoke a range of emotions for the audience and help to tell the story. The visual style entails a number of aspects from the lighting/colouring which are the most obvious elements, to the cinematography, music, costumes, props and sets. All of which can determine the themes and tone of the work and give it a personal signature.

The Director of the production has the most control over the visual style, with some Directors choosing to focus on the Actors, whereas others will plan out every single detail of the visual aspects to put a really personal stamp on their work and set it apart from others.
I intend on focussing predominately on the lighting/colouring and the cinematography for the visual style of Motherhood as I think that these aspects are the most important. I have also covered sets and costume design in locations and characters so intend on focussing on other elements for the visual style.

Some of the visual themes for this production include dark, low key lighting, with a blackened colour palette. It will have a modern feel to it as it is set at present day but the rural town should have a really gritty appearance to it.


Lighting/Colouring

Influences for the lighting and colouring include Tim Burton who is an American Film Director and Producer, known for his critically acclaimed work including Sweeney Todd: The Demon Barber of Fleet Street and animated film Frankenweenie. Burton is widely recognised for his gothic, eccentric style that is evident through costumes, sets, props but also largely through the lighting and colouring choices he makes. He often uses a blackened colour palette, bringing the saturation right down to achieve a very subdued but also very dark, gothic appearance. This can be seen in the image below from Sweeney Todd. For Motherhood, I would like to use a similar blackened colour palette to highlight the rural town setting and really set off the dark, dingy tone of the series. This will become even more apparent towards the second half of the series when the audience begins to see Vivian's demise and the town's setting will reflect her struggles.

For colouring, I have looked at the colouring used in Canadian Science Fiction Thriller television series Orphan Black. I wanted to look at this series in terms of its visual stye because the use of lighting and colour has a very signature style and helps to set the tone. The mood board shown below seems to have a recurring theme of a blue-green coloured tint which is apparent in a lot of the visual imagery. Other visual signatures of this series include lens flare and spot lighting. Both of these techniques work really well with the colouring, adding to the Thriller genre and setting the series apart from others. In terms of colouring for Motherhood, the blue coloured tint used her as seen in Orphan Black is really interesting and would suit the dark, contrasting lighting I intend to incorporate. I also think that the use of the colour blue will evoke negative emotions of pain and despair that Vivian would be feeling.

Framing/Shot Types
In terms of framing and shot types used in Orphan Black, I have noticed that there are a lot of high and low angle shots that are used to create a sense of dominance and threat for the character of Sarah in the series. These are importance as they hint to the audience of potential danger. I have also noticed the use of focus pulling in the series that can dramatise some of the more action filled scenes and make them appear more harsh and enthralling. The cinematographer has then also used a softer focus pull for softer moments to give the audience breathing space and create more contrast.

I imagine the use of establishing shots will be important to set each location and give the audience some really lasting impressions. I also think that these will create huge contrast between the setting of the secluded neighbourhood to the hectic environment of Downtown Greenville. 

I would also like to incorporate a number of close up shots that show the point of view of the characters and intensify some of emotions during scenes of suspense or sadness. The use of high and low angle shots will also be useful during tense and dramatic moments. These types of shots are often used by film Director David Fincher. 

PRE-PRODUCTION: Crew Selections

The Crew for any production are just as important if not more so than the Cast. It is necessary to have the right crew selection that will deliver the intended style, and themes for the series but above all else, convey the story to the audience in the most creative and thought provoking way possible. A suitable Screenwriter, Director, 

Cinematographer, Editor and Composer have all been selected for this production based on their own working styles and history in the industry. 

Director - John Fawcett

A Director of film and television will direct the making of the film and bring the screenplay to life. A Director will bring their visual style and personal signature to the production, which is why choosing the right Director is very important. 

John Fawcett

The Director I have chosen to direct Motherhood is John Fawcett. He is a Canadian Director and Producer, working in Film and Television. He is most known for his work on BBC America’s series ‘Orphan Black’.

The decision to crew him to direct the series was based on the visual side of it more than anything else, and his distinct style that he would bring to the project. He is also suitable as he has worked in Television predominately, including productions of similar genres/themes, and would therefore be able to convey the story to audiences in a creative, dynamic way. Fawcett’s visual style in Orphan Black was a significant influence for the visuals in this production, and so would be ideal to deliver the appropriate lighting/colour and framing decisions to suit these creative choices.

Screenwriter - Chris Chibnall

Chris Chibnall

Chris Chibnall is an English Screenwriter best known for his Science Fiction series Torchwood, a spin off of Doctor Who and for writing the Crime Drama series Broadchurch. Choosing the right Screenwriter for a Television series could make or break the story and the way it is received by audiences. Therefore it is important to choose someone with the right background of work to assess their suitability. Having worked on some heavily action-packed series including Doctor Who which is full of monsters and jaw dropping moments, Chibnall has the right level of creativity. Motherhood also handles the theme of child abduction and the process of losing a child. The script he wrote for Broadchurch not only told those moments in a really emotive way, connecting to audiences but stayed true to the realities of it which is really important for this series.

Cinematographer - Jeff Cronenweth

Jeff Cronenweth

Jeff Cronenweth is an American Cinematographer, known for his work as DoP alongside David Fincher in Fight Club and The Girl with the Dragon Tattoo. He is suitable for this role as he is renowned for his lighting choices, often working with dimly lit, low-key lighting to emphasise shadowing, obscuring the imagery and creating a cinematic, dynamic result. The shot types used in Fight Club including high and low angle close ups has influenced the framing decision and shot types for Motherhood, which Cronenweth will be able to replicate. Based on his work and the work of the Director chosen for this production, their visual styles compliment each other, which should make working together harmonious.

Editor - Dean Zimmerman

Dean Zimmerman

Dean Zimmerman is an American Editor, who has worked on numerous Films and Television series including Stranger Things and The Internship. He is the son of Don Zimmerman who is an Academy Award nominee for his editing work on the film Coming Home. The choice to crew Zimmerman as the Editor for this production was largely based on his work in Stranger Things. His timing of cutting the clips fits with the mood and tone of the scene with long, slow cuts for calmer scenes, and sharp, quick cuts for more lively, action based scenes. This is really effective in Stranger Things and is ideal for this production as it would require the editing style to set the mood for the scenes, evoking lots of contrasting emotions.

Composer - Bear McCreary

The Composer for the series’ soundtrack will be Bear McCreary who is an American Composer. He is best known for his work on The Walking Dead and Outlander. 

Bear McCreary

His choices for the Walking Dead soundtrack in particular reflect the mood of the series and create tension and drama. The opening title sequence for the Walking Dead has some really simple imagery just of the sets used for the series. However, the soundtrack is fast paced, almost having a suspenseful element to it, dramatising the otherwise simple imagery.

For Motherhood, the soundtrack should have energy as it is a thriller series, however, it should have an unnerving quality to it that keeps the audience on their toes. McCreary’s work on 10 Cloverfield Lane which is a Psychological Thriller has a soundtrack that competently reflects the balance of energy and harrowing suspense.

Production Designer - Diane Lederman

Diane Lederman is a Production Designer, most known for working on The Americans and 13 Reasons Why. She states research as the key to good production design, often utilizing the cast members to find out what’s most suitable. Rather than use an image of her, the examples below show some of her set design on 13 Reasons Why, showing a bedroom and a high school hallway. When describing what it was like to dress the bedroom sets, she said that it was essential to get the opinions of the cast as to what their characters rooms would look like to make them feel like it is their own. The interiors of both Vivian’s house and the Adams’ house are key elements to convey the right message of the series, and enhance the visual style. The hallway here would be ideal for the looming hallways at the Police Department. 

13 Reasons Why Bedroom Set

13 Reasons Why Hallway Set

PRE-PRODUCTION: Episodes Synopsis (Second Draft)

Given the feedback from Simon regarding the first draft of the episodes synopsis, I have made some rather substantial changes. He suggested that the pilot episode was a little dull, taking far too long to reach the triggering event where Elise is abducted, recommending that I start the first episode with this incident instead. Moving this event forward meant that everything else in the first draft was moved forward also. This actually ended up being a very positive thing as the events of the second half of the series felt very rushed and all happened extremely suddenly. I have decided to give more light to certain characters also and embellish on events like the supermarket scene, choosing to publicly shame her, alienating her from the neighbourhood. I think there are still some alterations to be made regarding the level of detail and paying more attention to this in some of the scenes in particular.

Episode 1

Episodes 2 & 3

Episodes 4 & 5

Episode 6

PRE-PRODUCTION: Locations Research & Imagery Selected

A key part of my pre-production package is the locations I would intend on using for the production and the kind of imagery I have in mind for some of the sets. The series is set in Greenville which is an existing city in the state of Kentucky, USA. Not only is the series American, it would be made and shot in Kentucky and be based around locations that are specific to the US. When I spoke to Simon during a tutorial, he suggested that I think carefully about the buildings and housing in particular to achieve some really accurate location settings for the series and give it the right feel.

The biggest location for this production is the rural neighbourhood in which the characters live. It is very different from the central city entitled 'Downtown Greenville', which is typically traffic ridden and chaotic. I wanted there to be a huge contrast between the two sides of the city so that there could be some really dynamic Establishing shots.

Greenville, Kentucky.

As I cannot go to Kentucky myself to obtain some primary research for the locations, I have to rely on stock imagery from the internet of potential locations and set ideas. Although it was challenging to find lots of imagery of Greenville itself, I have managed to find some imagery of the housing and local services that will be featured in the production.

Welcome to Greenville sign

Greenville Street View

Street View

Street View

Housing

Vivian's Chalet House

Jill and Gregory's House

Adam's Family House

Local Church (Francesca's Workplace)

Housing Interiors

Vivian's House Interior

Vivian's Work space

Adam's Family Lounge

Adam's Family Kitchen Interior

It was a very important visual aspect for the series that there is a huge contrast between Vivian's house and the Adam's household. The Adam's house reflects perfection in every sense of the word, the decor is contemporary and expensive, and every piece of furniture has its place. The importance of this was to accentuate the traits that Vivian lacks as a Mother. The series focusses around her obsession with perfection and of trying to prove herself worthy of her title. Therefore, I wanted certain locations to reflect her weaknesses in particular.

St. Andrews Park

Maple Hill Park 'Dead Children's Playground', Huntsville 

Downtown Greenville 

Establishing Shot 

South Main Street

It is important that the imagery of Downtown Greenville shows the differences in environment to the rural town of Greenville. I would like to have some interesting Establishing shots of the locations that would show the contrasting nature of the locations. 

Supermarket/Grocery Store

Publix Food & Pharmacy

Publix Interiors

 Downtown Greenville Police Station

Greenville Police Department

Police Station Hallway

Police Station - Interrogation Room

Huddle House Diner

Huddle House Exterior

Huddle House Interior

All of the imagery I have selected is of locations that feature in the Episodes synopsis of the series. To obtain the location settings, I thought carefully about what I was looking for in terms of style and appearance, as well as ensuring that each location reflected the rural parts of the town as well as the busy locations in Downtown Greenville. I think that all of my chosen locations are fitting for the production and the genre of it, as I think some really creepy imagery could be obtained from the neighbourhood locations. I think that there would be lots of contrast between those locations and the  city centre locations which would create a good balance and make the sets really diverse and visually pleasing. 

PRE-PRODUCTION: Episodes Synopsis: First Draft & Feedback

I have began writing the Episodes Synopsis for Motherhood. I decided to approach this, by looking at a few examples online for structure and length before writing it, but generally knew that I wanted each episode to be about a page of around 500 words. I decided I wanted it to be detailed and descriptive but not overly long and specific. I ensured that I introduced the characters with a simple description to give the audience an insight of who they are and what they would look like. In terms of the story structure, I began by breaking the episodes up into brief outlines so I knew what I wanted to include in each one and make the story flow evenly. After receiving some feedback from Simon during a tutorial, he thought that I had achieved the right balance of detail, not being overly vague but also not overly detailed. He also liked the creativity and style in which I had been writing it which gave me some confidence in the quality and refinement of it. 

In terms of things to improve, Simon suggested starting the series with the abduction straight away, as he thought that it took too long getting to that point in the first episode and would make watching it seem too long. He also suggested to elaborate on the location description to really set the scene right at the beginning of the series. Below I have included the outlines of the each episode and the first drafts of the first three episodes of the synopsis. 

Outlines/Tag-Lines

Episode 1: In the rural town of Dunmor, Kentucky, a struggling young Mother (Vivian) is negotiating long shifts at the local diner to support her twin daughters, determined to better their lives. Unbeknownst to her, someone has been observing her hectic lifestyle, with an ominous motive.

Episode 2: Following the sudden disappearance of a twin, the police are informed and an abduction enquiry is under way. However, Vivian and Thomas are faced with a disturbing revelation. Thomas attempts to comfort Vivian but is driven away by her delusions and outbursts. She repeatedly contacts the Police for more information but they deny her.

Episode 3: Vivian refuses to accept the evidence and begins her own search, with little faith from Thomas. She mistakes a child in the supermarket for her own, but is quickly escorted away by security. Confiding in Jill and Gregory, she sets up a web page for missing children enquiries. Meanwhile, a local woman starts to notice Vivian’s unusual behaviour, voicing it and alienating her further.

Episode 4: We return 6 years later. Thomas is living with their other daughter Sarah. Vivian has dedicated her working life to the enquiry, with little hope remaining and a disheveled house that harshly reflects her struggles. However, she is alarmed when a new family move to the town, with a daughter who bares a striking resemblance to her missing child. Vivian begins to befriend the child, who is warned to stay away from her.

Episode 5: Vivian will do whatever she can to prove her suspicions correct. She finally obtains a hair sample and the help of a Police Officer who eventually gives in to her pleading. DNA results prove that Vivian is in fact the birth mother of the child.

Episode 6: With confirmation, comes a drive to act fast! Vivian feels compelled to forcibly take back her daughter, but is soon met with the repercussions.

Motherhood: Episodes Synopsis (First Draft) 

Episode 1

It’s a hectic Saturday afternoon in June and the Diner’s busiest time of year. Vivian has been asked to work late, leaving her feeling flustered, having told her babysitter she would be home just after 6pm. She is paid for the week and leaves in a hurry, meeting every traff­ic light on the way home, making her feel more and more impatient. Babysitting the twins is Vivian’s neighbour and friend Jill Brown who is 62 and retired from her job as a nurse. Jill is a lonely woman who lives with her husband Greg, a hard-working self-employed Gardener. Always wanting to have children herself, Jill enjoys the chall­enge of handling Vivian’s 5-year-old twins – Sarah and Elise, who are bright and independent for their age.

Vivian picks up the girls from Jill, her profuse attempts of apology are met with Jill’s usual kind words and calm demeanor. They arrive back at their tiny and cramped chalet house. Vivian feels exhausted after work but agrees to let the girls watch their favorite movie – ‘The Wizard of Oz’ with their sparkly red slippers and dressing gowns on before curling up on the sofa together and falling asleep in front of the television.

It’s Saturday and Vivian’s day off. However, she is abruptly woken by the sound of her phone, the Boss tells her Kate – a flaky and useless co-worker has called in sick and they need her urgently. Vivian feels panicked and phones the twins’ Father – Thomas who hesitantly agrees to babysit the twins for the day. Thomas Peyton is 28 years old and works as a Delivery Van Driver. He is strongminded and financially stable, and spends time with the girls when he has an evening off work. He and Vivian keep a civilized relationship, co-parenting and supporting their daughters, but often disagree on parental arrangements.

Vivian returns just after 5pm and her and Thomas argue about the excessive hours she works. Vivian tries to explain that she wants to save to provide a better life for the girls, a life she was denied as a child. Thomas eventually gives in and leaves.

Determined to keep her word and spend a bit of quality time with the girls, Vivian agrees to take the twins to the park for an hour or so before it gets dark. They walk across the road to the park just adjacent, which is always empty apart from the odd dog walker. Unknown shadows cover the park as the sun begins to descend, leaving a few areas almost dark.

Someone is watching them.

They make their way to the Kids play area, complete with several swings, slides and a hopscotch. Vivian likes to get involved, encouraging the girls. She helps Sarah get out of one of the caged swings, she is stuck. Sarah begins to get upset and Vivian attempts to calm her and prevent her from wriggling. With a bit of force, she finally manages to lift Sarah out of the swing before turning around to look for Elise.

She has vanished from sight.

Episode 2:

Outline: Following the sudden disappearance of a twin, the police are informed and an abduction enquiry is under way. However, Vivian and Thomas are faced with a disturbing revelation. Thomas attempts to comfort Vivian but is driven away by her delusions and outbursts. She repeatedly contacts the Police for more information but they deny her.

Vivian looks around frantically, Elise is nowhere to be seen. Sarah begins to cry and Vivian picks her up straight away, seizes her hand bag from the bench and begins to run towards the gate. Her heart is pounding and she loudly summons Elise, her head turning to scour as far as she can see, attempting to block out Sarah’s shrieks. She cannot see or hear anything clearly, almost as if she beginning to lose consciousness. Screaming louder and louder, she is met with nothing but the whistling of the wind and a faint noise of cars.

Vivian speedily runs back to the house and hurries Sarah inside, placing her on the sofa. She picks up the landline and thumps the keypad. Thomas picks up quickly, and speaks in a calm manner, however, he is met with screams of panic and despair. Trying to make sense of what is being said, his voice turns serious and he leaves his house immediately without saying goodbye.

Thomas arrives within 10 minutes at the house and is met by a now sobbing Vivian. He instantly notices Sarah who looks stunned, sitting in silence. Thomas reasons with Vivian and takes Sarah next door to Jill and explains the situation. Jill is hugely concerned and offers her help but Thomas reassures her that the best thing she can do is take care of Sarah in the meantime.

Thomas and Vivian drive to the Police Station and report that is Elise missing. They give them a photo of her from Vivian’s purse and Vivian is taken in for questioning by Inspector Daniel Reed who has been working in the local area for over a decade and is known well by its residents. Vivian relays the events of the evening, explaining her concern that Elise wouldn’t have just run off. Inspector Reed attempts to reassure her that she won’t have gone for and will be found by the next morning.

Thomas and Vivian leave and agree to stay with Sarah until the morning at least and go out to look the next day.

It is midday and Vivian has been anxiously staring at the phone all day. Thomas takes his car out and scours Downtown Greenville, asking in shops and restaurants. When he gets back Vivian looks just as distressed, she has just had a phone call from Inspector Reed. They’ve found some evidence.

Episode 3:

Outline: Vivian refuses to accept the evidence and begins her own search, with little faith from Thomas. She mistakes a child in the supermarket for her own, but is quickly escorted away by security. Confiding in Jill and Gregory, she sets up a web page for missing children enquiries. Meanwhile, a local woman starts to notice Vivian’s unusual behaviour, voicing it and alienating her further.

They hurriedly drive to the Police Station and announce themselves before being taken into a private room. Inspector Reed comes into the office, he is carrying a parcel and reveals a clear plastic bag inside. He sits down and looks at Thomas and then at Vivian. Before he can begin his sentence Vivian screams “What have you found then?”. Reed sighs and takes the plastic bag out of its wrapping. It contains a pair of pink and white spotty trousers and a single white lace up boot. Both have what appears to be blood staining. He explains that the items of clothing were found in the woods, about half a mile from the park. Vivian confirms they belong to Elise and breaks down into tears whilst Thomas attempts to comfort her. Reed tells them that they are assuming a violent crime has been underway but reassures them that they are still searching and will inform them of any further news.

They return home. As they step out of the car, they are approached by town local –Francesca who has seen them acting strangely, however, they quickly brush off the conversation and go inside. Sarah comes back home and Thomas tries to comfort her, whilst Vivian stays in her room in despair.

The following day, the pair decide to go to the supermarket and surprise Sarah with some of her favorite foods. Whilst looking in the confectionary isle, Vivian notices a young girl at the end of the isle, her back is facing Vivian and she has long blonde hair. Vivian alerts Thomas who dismisses her and beckons her away. However, she starts to speedily walk down the aisle to catch up after her. People keep getting in her way and she forcibly pushes her way through. Eventually catching up, she holds out her arm and pulls on the young girl’s shoulder who turns and lets out a yelp! The girl’s mother is confused and alerts the staff who escort Vivian away. Disillusioned, and unconvinced, she struggles and breaks free. However, the police are called and she is taken home. Francesca oversees.