Soundtrack

Erik Schenkel is composing the original soundtrack for the film. There were two songs I gave Erik as a reference, being ‘Stay Alive’ by José Gonzalez and ‘The Right Way’ by Sunday Sun. Stay Alive is the soundtrack from ‘The Secret Life of Walter Mitty’, and I thought it fit perfectly with the theme of…

Visual style

The visual style of the film is a very important part of the storytelling process. The storyboard and colour grading are part of the visual style of the film, and will be explained here. Storyboard Michaël and I sat down to draw up the start of the storyboard and see if we were at the…

Editing

Sjoerd Hageman is our editor. After all the shooting days were done, Michaël and Sjoerd converted all the footage into proxy-footage, so the editing could be done. Sjoerd made the first cut by himself, based on the script. You can watch the first rough cut below. After Sjoerd finished the first rough cut, I went…

Directing on Set

My main focus was with the actors during the shooting days. Since I had done elaborate preparations with Michaël for the shooting days, Michaël knew what needed to be done and I knew what Michaël was doing. This gave me the freedom to focus on the actors and help them give their best performance. During…

Rewriting with actors

During the rehearsals both Sophia and Yaron came up with suggestions to alter the dialogue in certain places. During the discussions we had about the dialogue, I kept in mind what worked best for the story, and I didn’t cling to the words I wrote. Script changes should be discussed as a director, not as…

Styling

For the styling of Yaron and Nastassia we asked Roos van Roosmalen to help us out. She’s a graduated textile student and already did styling for series such as “Van jonge leu en oale groond.” As a preparation, I had a conversation with her talking through some of the practicalities. For example, Sophia couldn’t be…

Rehearsals

On Wednesday 4 May I went to Amsterdam for rehearsals with Nastassia and Yaron. I wanted to have rehearsals before the shoot so that we could go through the script and talk about the characters and their motivations. We also needed to explore different options as to how they could play certain parts and what…

Rewritten script

After receiving Gerben’s initial feedback, I started rewriting the script. Most of his feedback was on the dialogue, so that was my start-out point. He also noted that the dialogue still explained too much at this point, which he said is common in first drafts. Dialogue At first I took the script and read it…

Character spines

To further develop the characters and their spines, like Gerben recommended, I filled in the ‘power questions to develop a character’ from the book ‘Screenplays: how to write and sell them’ by Craig Batty (2012). The character-spines show the characters’ dramatic and thematic tension, and they show you what’s at stake for them during the…

First Draft

After developing the characters and the concept for the film, it was time to write a first draft. Before I started writing, I drew out a storyline to have something to guide me through the writing process. The clean storyline looks like this (Kines, 2013): For an explanation of the storyline at its plot points…

Second story set-up

After I had rewritten the characters, the first story setup no longer matched the characters and their relationship. So I wrote a second story setup, written with the rewritten characters. On the edge A girl (early twenties, neat clothing) is standing on the edge of a tall building, preparing herself for the jump. Suddenly she…