My role during this project was to find the main actor, along with head of cinematography and being a sound engineer. The whole point of this project is to show how something as mundane as running for a bus can be greatly exaggerated and when it is, it is read differently. We used Hollywood codes and conventions such as, quick cuts, frantic camera work and shaky close-ups and subverted them. As well as subverting Hollywood, we are also making a social commentary on how in our hyperactive and busy culture is commanded and controlled by time.


Project and proposal


I intend to create an interactive video where the viewer makes set decisions regarding the main character, Miles. The viewer makes choices influencing the main character in terms of activity which in turn influences his appearance and if he’ll get a promotion. I intend to make this video slightly gamic, where the main character almost acts as a character from an rpg game.  I intend to showcase two extremes of Miles’ character in this forking path narrative, through editing and representation. The aim for the viewer (who is also the participant) is to insure Miles’ gets the promotion.

Persuasive games – Ian Bogost

Persuasive games.

Bogost starts almost defending games, due to games still perceived as cheap and corrupting younger players. Games are like any other form of expressive art in my opinion, and it is inevitable that they will surpass film in terms of popularity, games have also been proven to be hugely beneficial within education, for example: simulations, which are not just limited to the realm of education.

Bogost believes that games have the ability to potentially change the world, due to computers having such great power.

Bogot speaks highly of games which altering players opinion outside of the game, like a film, photograph, and documentary does, possibly even more now with more interaction within the game sphere, great writers and amazing visual aesthetics that immerse players.

Games could potentially tackle world issues and politics. For example a game about democracy could highlight the issues surrounding corruption. Bogost believes people would take more of an objective approach, due to having a complete “detached perspective” (Bogost, 2007)

Bogost speaks of big corporate chains attempting to penetrate into videogames through advertising, just like they do within film, for example product placement.`

Bogost, I. (2007) Persuasive Games. The expressive power of Videogames. 1st ed. London: The Mit Press.

Hypermedia Fiction: A Medium of Forking Paths

Frank Tillman

– Hyper-fictional narrative is given to the audience, the viewer/participant to make choices and get on with the story.

– Allowing the audience a alternative, an additional choice, there are obviously limitations due to the text being created by an author.

2. ‘”Why have current incarnations of hyperfiction in the form of gaming environments failed to realize the potential of interactive narratives?” (Tillman, 1997.p.388)

This piece was written in 1997, but i believe games are only going to get more interactive, not only within the game space, but outside it too. Many modern games allow the gamer to make important decisions within the sphere which effects their avatar in terms of progression. Players can now form their own path and narrative within a game space. An example of this is Skyrim, where players can almost forge their own path in the game. Yes, there are limitations, there will always will be limitations in a game, however, Skyrim is so vast, with so much to explore. Players are not bound by one ‘main storyline’ Players are recommended to explore and create their own narrative path.

– Convergence, through digitisation separate mediums merge and become one single nonlinear interactive medium.

– Due to the interaction by the viewer with hyper-textual fiction they are no longer a “abstract reader”, but a maker of it. (Tillman,1997.p.388)

“In the command mode of interactive fiction, the reader/viewer is put into the role in  which critical awareness would seem to be part of the exercise of making choices. Every choice could be described as being self-culpable within the limits of the episode and links which are given to us as we take ownership of choices and actions.” (Tillman, 1997. p.397)

Tillman, F. (1997) Hypermedia Fiction: A Medium of Forking Paths. Computer Assisted Language Learning. 10 (4), pp. 387-397.

Fight scene

One aspect of my project which I’m most excited about filming and editing is the short fight scene involving Miles, I want to create a urban “gritty” effect – I intend to shoot this in near darkness and intend on using a fag light. This is to contrast the Miles that appears in a different forking path, a more organised and stable Miles.


A photo from the previous shoot.

For the previous fight scene I used shaky camera techniques and tracked the fast movement of  Miles as he swung. In post production I intend to implement quick, fast cuts during the short fight scene to create the sense of chaos, the camera most be following the subject matter’s chaotic movement. Steven Shaviro explores this through a theory called Post-Continuinity: “This is a filmmaking practise in which a preoccupation with moment-to-moment excitement, and with delivering continual shocks to the audience, trumps any concern with traditional continuity, either on a shot-by-shot level or in terms of larger narrative structures.” (Shaviro, 2011)

Shaviro considers continuity to be “devalued” and “fragmented” and is often reduced to incoherence.

One rule which will be broken during the fight scene will the 180-degree rule, which will be broken by the presence of the first-person perspective. Shaviro, S. (2011).

Post-Continuity [online]. Available at:

Changes made to my project.

I’ve decided to make changes to the project. Instead of the main character’s appearance gradually morphing over the course of the film, which was initially the proposed main focus of the project. The focus will be on the main character making an interview for promotion – the journey. I’m still keeping the interactive feature and  the main character’s appearance will slightly change over the course of the film – his appearance will change – through rougher clothing, a beaten up face, but more importantly his body language and attitude changes depending on the choices made.

I intend to made all the ‘good decisions mundane, so the viewer goes back to earlier stages to explore, as I intend to contrast the slow, static camera work to the fast frantic camera movement from the fight scene. Usually in rpg games, the player decides to do something they would not normally be able to do, the decisions made in games have consequences, for the avatar, but not the actually player.

I intend on having two opposite versions of Miles by the end of the film, one version organised and clean cut and the opposite, a broken man not making the promotion interview.

Instead of using the Canon 60D I have opted for the Panosonic HMC, as it is overall more reliable in terms of sound. With the canon 60d I found it hard to operate on my own, I found it extremely difficult during my last project to maintain stability and use focus pulls. In terms of visual aesthetics, such as depth of field – the canon trumps the HMC.


Part 1 – Decision 1 – Stay and drink or go home?

  • The film starts with Miles, locking his bike up at the front of the house.
  • Extreme close-up of the unlocking of the bike chain, quick cuts in post production, emphasis on sound.
  • Miles answering the phone to Max. Miles: ‘Hey Max, Just locking up my bike – I’ll be with you in a minute. We’re not having a repeat of last time though. I have some promising work related news to tell you.’
  • Max: ‘Yeah, yeah, big shot – we’ll have just the one’ (said with a sarcastic tone.)
  • Miles: “See you in two minutes”. Miles puts the phone down.
  • Max is sat outside waiting, with a drink for himself and one for Miles.’Always a pleasure, Miles. You mentioned an important day at work tomorrow?’
  • Miles: ‘How the hell did you afford these them? (reference to Max being unemployed) well, I’m potentially next in line for a promotion and have an important interview tomorrow.
  • Max: ‘Well, we both know you’ll get it, so we might as well celebrate in advance. (could cut to the montage here) Miles: ‘I’ll toast to that, but just having the one’
  • Mid. Over the should shot, cutting between the two during conversation.
  • Max: ‘Seeing as I purchased the first round, its only fair you return the favour’.
  • Cut to Miles, whose clearly considering having one more by looking down at his empty pint class
  • Cut to Max from the first-person perspective of Miles, where the decision will be made.
  • Max: “Are you buying a drink or are you heading home? – then the two options come up on screen.
  • Miles in first-person perspective looking down at his empty class, then glares at Max. 
  • Part 2a) Decision made: No to staying out. Later afternoon/early evening. Decision 2- Ignore the suspicious male or threaten to call the police. 
  • Miles is walking back from meeting Max.
  • Mid-shot of Miles entering the house shot from both the outside of the house and the inside.
  • Time-lapse of Miles sat on the sofa with him over-reacting to what he’s seeing on the television. Camera fixed in one position, no movement, mid close up.
  • Cut between him sat on the sofa and a time-lapse of a clock as Miles is falling asleep.
  • Audio stops when Miles wakes up, he’s alarmed by a bizarre sound outside. Camera follows Miles from behind as he goes to investigate – he looks out of the window with concern.
  • Miles spots a hooded male, with a torch investigating his surrounding – looking over fences and into cars.
  • Cuts to close up of the Hooded male crossing the road, the camera is frantically tracking him.
  • – Cuts to a close up, camera propped up from above, looking down over Miles’ shoulder whilst focusing on the Hooded male outside.
  • Cuts to a mid-shot of Hooded male searching the contents of a car with a torch.
  • Camera is now from Miles’ first person perspective, Miles opens the windows. The audience are presented the choice of ‘Ignore thief’ or ‘Threaten to call the police to scare him off.
  • Scene 2b) Fight or Apologise. Early evening and Night.
  • Continues from the first part of the film with Miles and Max drinking. Quick cuts and close ups of them drinking for 20-30 seconds.
  • Then cuts to later in the evening, Miles stumbling back home in the darkness. Camera is tracking Miles’ from a front view. Mid shot.
  • Mid shot of the hooded male walking around the corners
  • Cuts to a neutral shot under a street lamp. Miles bumps into the same hooded male from 2a.
  • Over the shoulder shot from Miles’ perspective of the hooded male, shouting abuse at Miles, ‘What the fuck are you doing – watch where you’re going.’
  • From Miles’ first person perspective – Miles looks down at his fist, then looks back up at the hooded male. The audience is presented with the option. ‘Fight or Ignore’ 
  • 3a) from the decision ‘Shout at thief’ Evening.  
  • From the perspective of the hooded male, Miles is threatening to call the police.
  • Miles: ‘You don’t live here, go away, before I call the police’
  • Hooded male is stuttering, ‘Whatever, I’m leaving’
  • Mid close up of the camera tracking the hooded male, camera then stops and the hooded male walks out of frame.
  • Shot of Miles neatly preparing his clothes for the big day.
  • Cuts to extreme close-up of Miles’ Eyes shutting.
  • Cuts to morning – Miles eyes open.
  • Morning
  • – exact same position as the last shot, miles waking up, eyes opening, extreme close up.
  • – miles preparing breakfast, singling along to a song
  • – cut to miles looking in the mirror, styling his hair. Practising for the interview in a confident manner: ‘You’ve got this, just stick to the plan, stay positive.’
  • Mid-shot of miles putting on his blazer
  • Extreme close up of Miles picking up his keys from the table
  • Mid shot of miles leaving the house
  • Shot of miles saying morning to someone off camera.
  • Miles cycling off on his bike, interacting with a passer-by
  • Ends with Miles leaving a message on the phone informing Max he got the promotion. 
  • 3b) From the decision in 3a. Ignoring thug – Bike has been stolen
  • Evening
  • – Use shots from 3a, but using different camera angles.
  • Morning
  • – use shots from scene 3a, but using different camera angles.
  • -Shot of Miles leaving the house, In a happy confident manner, then realising the bike is gone
  • -Mid close up of Miles releasing he’s going to be late, Miles frantically leaves the house, bursts towards the door and slamming it behind him.
  • Close up of Miles panicking
  • Frantic camera work for miles running away
  • Shot of miles running outside and turning the corner.
  • Ends with Miles leaving a message on the phone informing Max he didn’t get the promotion due to being late for the interview and mentions someone stole the bike.
  • 3c) from 2b) After Apologising
  • Late Evening
  • – Over the shoulder shot of miles apologising from both Miles and Thugs’ perspective (Over the shoulder)
  • – Neutral shot of the apology.
  • – Over the shoulder shot from miles’ perspective of Thug throwing verbal abuse at Miles. Yeah – you should be fucking sorry, watch where you’re going next time you prick. Now fuck off out of my face, yeah, Pussy. Miles walks off.
  • – Medium back shot of Miles walking into the house, negative body language.
  • – Shot of Miles walking into the bedroom throwing his blazer on the floor.
  • – Shot of miles just collapsing onto the bed fully clothed.
  • Morning
  • – Shot of miles waking up late, with the alarm going off in the background. When he wakes up he’s extremely groggy.
  • – mid-close up Shot of Miles looking at his watch releasing he’s going to be late.
  • – Quickly finds his blazer and puts it on
  • – Close up of miles splashing water onto his face and audio whist panicking
  • – mid close up shot of miles rushing to brush his teeth
  • – shot of miles leaving the house with toast in his mouth
  • – Miles frantically rushing to get to work.
  • Ends with Miles leaving a message on the phone informing Max he needs a lift as his Bike was stolen.
  • 3d) from 2b) Fight.
  • At this point miles’ tie is undone, he’s slightly more groggy and tipsy.
  • Evening (late) – slightly dark outside
  • – Mid neutral shot (both in frame) of miles pushing the thug
  • – From both Miles and thug’s perspective – thug goes towards the camera when pushed.
  • – Thug throws the first punch, frantic camera work as they’re fighting. (Medium shot with both in frame)
  • – Miles throws another punch back.
  • – thug pushes miles against the wall, Miles bounces back and takes a vicious knee to the gut and falls to the floor. Mid close up of miles falling to the floor
  • – Shot of the Thug running away, quickly escaping the scene a low shot just behind Miles, with Miles in focus and the thug out of focus as he runs
  • Morning
  • – Cuts to Miles waking up in the morning in pain touching his eye
  • – Mid shot of Miles attempting to put his blazer on, but does it slowly due to the pain.
  • – Shot of Miles looking into the mirror nursing the pain and touching his eye and lip.
  • – Uses mouthwash rather than brushing his teeth.
  • Ends with Miles leaving a message on the phone informing Max has lost him job due to arriving late and turning battered and bruised.

Audio needed to be recorded with the H2 zoom.

  • Dialogue – Miles leaving answering messages to Max.
  • Foley sounds of glasses being hit together.
  • Foley sounds of fists connecting with the body.
  • Foley sounds of Running and footsteps.
  • Foley sounds of both Miles and Hooded male reacting to being hit.

Soundtrack list

  • Explosions in the sky – The Death and Birth of Day – Jesu remix
  • Bonobo – All Forms
  • Gorillaz – White Light