Group Discussion Post #2

    This week in class, students split into groups once again to discuss ideas and share feedback. My group included Alejandro, Kiarmary, Paula, and Julian.  

Alejandro -  Working in a group with Sebastian and Felipe on a project based on Fast and Furious style street racing. Action comedy style around 3 characters, 2 racers (Paulie and Jay) and a car part dealer (Mr.Clutch). Costumes include casual street wear for the drivers and a suit for Mr Clutch. They plan on using real cars for their shots and film in a nearby alleyway in our neighborhood. They plan on using a lot of dialogue and limited background music. They emailed the rapper MF Doom’ s company in hopes of using some of his music for the project. The biggest setback they have faced has been their first choice for location, a prison, was denied. Their group hopes to start filming after school today. 

Kiarmary - Working with Gustavo and Bella on a secret agent doing a briefcase exchange with a Godfather style mob boss and ending up double crossing him. An intense chase scene follows. She hopes to start filming today after a few scheduling issues. Another setback has been finding a good location to use for the exchange scene in a diner. Music would be added for the chase scene following the exchange and would be basic spy music and dialogue will take place throughout. For her CCR she wants to recreate the exchange scene with a briefcase containing questions, and her second might follow a main character discovering the project on old VHS tapes and discussing it. 

Paula - Working alone on a project based on a girl (Ava) with mental illness and hallucinations. She plans to have it open in a therapists office and establish the mental illness angle early on. Her main inspiration would be the film Don’t Worry Darling as it includes a lot of those surrealist elements. One idea was to have the main character be very pale to show her isolation with contrasting features. All scenes will take place in her home after appropriate lighting choices. She doesn’t want to use much music or dialogue due to a focus on diegetic sound. Paula’s biggest obstacle has been scheduling good times to film.

Julian - Working alone on a project about a soccer player being frustrated due to being unable to make it big or become a pro. Within the story he gets the opportunity to try out for a team on his birthday but sleeps in on the day. The majority of the project follows the man rushing to get to his tryout before it’s too late. Julian has been mostly focused on planning his project but plans to begin filming within the week. The idea came from in his own life and no movies in particular. His main character will be played by his older brother while Julian films. 

Production - Final Revisions and Clean Ups

    For my final revisions of the project, I focused on storyboarding, shot planning, and cleaning my script to make sure everything felt realistic and achievable. I spent a few hours carefully going through my script and refining certain moments, cutting out aspects that felt unnecessary or too difficult to execute with the resources I have. While some of the original ideas were exciting in theory, I realized that practicality is extremely important for a two-minute project with limited time and equipment. Making these revisions helped the story feel more focused and manageable.

One major change I made was deciding to no longer open the project at the beach. Although I liked the visual symbolism of that setting, it became difficult to schedule and would have required more coordination than I could realistically handle. Instead, I chose to stage the opening scene beside the pool in my backyard. I felt this could achieve a similar dreamy and reflective effect without the added complications of transportation and timing. This adjustment allows me to maintain the tone I envisioned while keeping the production process efficient and controlled.

Alongside revising the script, I refined my storyboard to match the updated scenes. I mapped out specific shots, camera angles, and transitions so that filming would feel organized rather than improvised. As mentioned in my previous post, I also collected cutaways and establishing shots to support these planned sequences. Having a clear storyboard and shot list makes me feel more confident moving forward, since I now have a structured visual plan that aligns closely with my finalized script.

Creating My Company Logo

 This week I also focused on creating a production company logo to place at the beginning of my film opening. I started out by looking for inspiration online, researching popular production companies and studying how their logos are designed. I paid attention to how simple yet recognizable many of them are, and how they often include a strong visual symbol paired with clean typography. Looking at well-known companies helped me understand the importance of creating something memorable but not overly complicated.

After gathering inspiration, I went into Canva to begin designing my own logo. I was first drawn to a specific template because of its neutral yet warm color theme, which felt professional but still creative. I then customized it by adding my own name and slightly adjusting the color so it would stand out a bit more and feel unique to me. To give the logo more personality, I decided to include a symbol that could represent my company. I found a leopard graphic that I really liked and felt connected to. I was inspired in part by the MGM lion, but I felt that the leopard represented me more personally, while still giving off a strong and confident image. Overall, designing the logo made the project feel more official and helped establish a clear identity for my production.

The First Official Week - Production Post

 Hello and welcome back to the blog! This week marked the first official week of filming for my project, which felt both exciting and slightly overwhelming. Thankfully, I had my locations scouted out pretty far in advance, since the opening mostly takes place in my own school and at home. Because these are spaces I am already familiar with, it made planning camera angles and movement much easier. I had already visualized which hallways, classrooms, and rooms would best fit the tone of the film, so when it came time to start filming, I felt prepared rather than rushed.

Over the weekend, I spent most of my time collecting footage from around my school and home for cutaways and establishing shots. I focused on capturing small details such as empty hallways, classroom desks, bedroom spaces, and other everyday environments that help set the mood of routine and repetition. I decided to hold off on bringing my actors in until next week because I wanted to ensure my script was as clean and finalized as possible before filming performance scenes. In the meantime, I made sure all costumes were set and ready, and I coordinated everyone’s schedules so we could film efficiently once they are involved. Overall, this first week was more about preparation and atmosphere, but it made me feel much more confident heading into the next stage of production.

Casting Plan

 This week my planning has been focused on casting for my film opening, since choosing the right actors is essential to making the story feel believable. For my main character, Jane, I intend to cast one of my close friends, Daphne Gahan. She is a 16-year-old sophomore who participates in theater at my school and has experience performing in past productions. I felt that she would be a strong fit for the role not only because of her acting background, but also because she understands the emotional tone I am trying to create. Since Jane is a character who is often lost in her thoughts and quietly observant, I think Daphne’s ability to express emotion through subtle facial expressions and body language will be especially important.

I also felt that I could truly trust her to take on such a central role in my project. She is one of my closest friends, and that level of comfort will make communication and collaboration much easier throughout filming. Because she has participated in acting roles for theater in the past, I am confident in her ability to memorize blocking, take direction, and stay committed to the project. For Jane’s parents, I plan to cast my own parents, Sorin and Carolyn Popescu, which will make scheduling more manageable and ensure reliability. Jane’s classmates will be played by fellow theater students, as they are already familiar with performing and will help create an authentic high school atmosphere. Overall, I wanted to cast people I trust and who have performance experience so that the final product feels natural and well-executed.

Audio Planning

 Audio planning is another key focus because sound will strongly influence the emotional tone of the opening. Background music, ambient noise, and silence can all shape how a scene feels, sometimes even more than visuals. I am considering using softer, more atmospheric music during daydream sequences and more ordinary environmental sounds during reality scenes, such as hallway chatter or classroom noise. This contrast can help the audience clearly understand when the character is mentally escaping versus when she is present in her normal environment.

I considered using voice over techniques to allow Jane to narrate her life but decided against it. A brief voiceover could provide insight into the character’s thoughts, but I want to avoid overexplaining and instead let sound design carry much of the emotion. Subtle audio cues, like muffled sounds when Jane zones out or a sudden return to louder reality, could effectively show her shifting attention. Overall, thoughtful audio choices will help make the short opening feel immersive and emotionally engaging without requiring complex dialogue.

Mise-en-Scene Planning 2

 In addition to the physical elements of mise-en-scène, I have been thinking about the overall visual style and atmosphere of the film. Camera framing and composition will work closely with the set and lighting to guide the audience’s attention and emotions. For example, wider shots could make my main character appear small or isolated within her environment, while closer shots could highlight her facial expressions during moments of thought or frustration. These choices will help reinforce the theme of feeling mentally distant from the world around her.

I am also considering how color and space can influence the viewer’s perception of mood. A more limited color palette in reality scenes compared to slightly more vibrant or unusual tones in imagined moments could subtly show the contrast between the two worlds. Even simple adjustments, like changing the brightness or adding slight visual distortion, can create a surreal feeling without overwhelming the story. The goal is to maintain a cohesive look that supports the narrative rather than distracting from it.

Mise - en - Scene Planning 1

 Another major area of planning this week has been mise-en-scène, specifically how costume, set design, props, and lighting will visually communicate the tone of the film. Since the concept revolves around my character who feels bored and disconnected from her routine, I plan to use more muted or neutral colors in their clothing and surroundings. This could subtly reflect her emotional state without directly stating it. The setting will   be a typical school environment, but arranged in a way that feels repetitive or slightly dull to emphasize the routine aspect of their life. It will focus on greys and beiges to show monotony. However in dreams and alternate Jane sequences would feature pastel, dreamy colors.

Props and lighting will also play an important role in showing the difference between reality and imagination. Everyday objects like notebooks, headphones, or a phone could become symbols of distraction or escape. Lighting would shift slightly during daydream sequences, becoming softer or brighter to separate those moments from normal scenes. By carefully planning these visual elements, I can create contrast and mood without needing complicated effects, which is especially important given the limited time and resources of the project.

Character Development

 This week my planning has been heavily focused on character development, since the main character will be the emotional center of the entire film opening. Because the project is only two minutes long, I have to make sure the audience understands who the character is almost immediately. I mostly keep in mind the difference between the interactions in her real life vs the day dream sequences. My main character, Jane keeps to herself and is often fidgety and nervous. Her wardrobe and outward appearance will be discussed more in my next post. Below are reference photos for Jane in thr beginning of the project.

I am also considering how Jane changes, even slightly, within the short opening. While a full transformation is unrealistic in two minutes, I will still hint at her internal conflict or desire for something more. Small details such as her body language and expressions while looking at the alternate version of herself can make emotion more clear. Through the short arc I want to make Jane's jealousy and resentment towards the alternate more clear, almost reminiscent to 2024's The Substance. The transition will be  a from wistful and hoping to more bitter through the film. Possible mostly through acting from Jane. Below are reference photos for Jane by the end of the film. 

Ideas Summarized and My Inspirations

 One idea I am strongly considering for my coming-of-age project is centering the story around a teenager in high school who constantly has their head in the clouds and is always searching for some form of escape. The character would be surrounded by the normal routines of school, homework, and daily expectations, but internally they would feel disconnected and restless. This concept fits well within the coming-of-age genre because it focuses on identity and the desire for change, which are emotions many young people experience. By showing the contrast between the ordinary outside world and the character’s inner thoughts, the opening could immediately communicate their dissatisfaction and curiosity about something more meaningful.

The main theme would revolve around boredom with the mundane aspects of life and the habit of daydreaming as a coping mechanism. Simple actions such as sitting in class, walking through hallways, or riding the bus could become moments where the character drifts into imaginative thoughts. This approach would allow the film to stay realistic while still exploring creativity and emotion. The relatability of feeling stuck or uninspired is something that many audience members, especially teenagers, can connect with, which makes the concept strong for a short film opening that needs to establish character quickly.

I also hope to include certain surrealist elements to visually represent these daydreams and inner desires. Brief visual distortions, unusual transitions, or exaggerated imagery could show the difference between reality and imagination without needing much dialogue. I was inspired by films such as Lady Bird and Everything Everywhere All at Once, both of which explore personal growth and identity in visually distinctive ways. Another few inspirations would be Fight Club in terms of unreliable narration, and Carrie regarding an outcast main character. While my project would be much smaller in scale, these films demonstrate how emotional storytelling and creative visuals can work together to make a character’s inner world feel vivid and engaging.

Group Meeting Reflection #1

Hello and welcome back to the blog! This week as part of the planning for our film opening projects, students got together in groups to discuss ideas and share feedback on each others projects. It was helpful to hear a variety of concepts all at once because it showed how many different directions a two-minute opening can take, even within the same assignment guidelines. The discussion also made the process feel more collaborative, even though many of us are ultimately working individually on our final pieces.

I was in a group including Gustavo, Sebastian, Maia, Vitor, Ishaan, and Fernanda. We went around the group to explain our ideas, inspiration, possible obstacles, and general goals for the project. While Vitor, Ishaan, and Sebastian were specifically focusing on the comedy genre, something we all had in common was hoping to include some humor into our scripts in some way. In such a short period of time, finding comedic material that doesn’t feel forced can be a bit of a challenge. Timing, delivery, and tone all matter, and it is harder than it seems to make something genuinely funny without it feeling awkward or rushed.

Hearing everyone else’s ideas also helped me reflect on my own project and the direction I want to take it. Some group members suggested thinking more about visual humor or subtle moments rather than obvious jokes, which I found useful since my concept is not fully centered around comedy. We also talked about possible obstacles such as limited filming locations, scheduling conflicts, and keeping the story clear within only two minutes. Overall, the group conversation gave me reassurance that brainstorming is still a normal part of the process at this stage, and that refining ideas over time is expected rather than a setback.

Integrating Media Theory

 Hello and welcome back! This post will be discussing a media theory I plan to ingrate into my project. Cultivation theory, developed by George Gerbner, suggests that long-term exposure to media can shape how audiences view reality. In a coming-of-age film project, this theory is useful when considering how repeated themes, images, and character behaviors might influence viewers’ expectations about teenage life. Because these films often show school, friendships, and social pressure, the way these elements are presented can slowly build a certain version of reality in the audience’s mind. Showing honest and realistic situations can encourage viewers to see adolescence as a time of learning and growth rather than only conflict.

Applying cultivation theory to my project means being aware of the messages that are repeated in the opening. For example, if the main character faces insecurity but also finds support from friends, it can promote a balanced and positive view of growing up. Since the genre is highly relatable and often watched by younger audiences, even a short two-minute opening can influence how viewers interpret both the story and their own experiences. By emphasizing themes like friendship and self-acceptance, the film can remain entertaining while still presenting a meaningful portrayal of adolescence.

Works Cited (MLA Format)

Gerbner, George, and Larry Gross. “Living with Television: The Violence Profile.” Journal of Communication, vol. 26, no. 2, 1976, pp. 172–199.

Gerbner, George, et al. “Growing Up with Television: Cultivation Processes.” Media Effects: Advances in Theory and Research, edited by Jennings Bryant and Dolf Zillmann, Lawrence Erlbaum Associates, 1994, pp. 17–41.

Morgan, Michael, James Shanahan, and Nancy Signorielli. “Cultivation Theory in the Twenty-First Century.” The Handbook of Media and Mass Communication Theory, Wiley-Blackwell, 2014, pp. 480–497.

The Coming of Age Genre and its Demographic

 The coming-of-age genre has remained popular for decades because it tells stories that are highly relatable to its audience. These films focus on experiences that many people go through at some point in their lives, such as growing up, discovering who they are, forming friendships, and facing challenges. Teenagers and young adults are the main audience for these stories, but the themes of identity, self-discovery, and personal growth are universal, which means older viewers can also connect with the emotions on screen. Because the stories often reflect real-life experiences, audiences feel a sense of familiarity and empathy, which makes the films engaging and memorable.

    Part of the genre’s popularity comes from the way it balances realism with entertainment. Coming-of-age films often combine humor, drama, and romance to create a story that feels both genuine and enjoyable to watch. Films like Juno or Clueless show characters facing real issues, such as relationships, social pressure, or family conflict, but they present these problems in a way that is entertaining and often lighthearted. This combination allows viewers to see themselves in the characters while also enjoying the story, making the experience both emotionally satisfying and fun. By reflecting the struggles and triumphs of growing up, the genre naturally builds a strong connection between the film and its audience.

    Another reason the genre resonates so well is its focus on emotional honesty and character development. Coming-of-age films often show the protagonist learning lessons, making mistakes, and navigating life’s uncertainties. Audiences are drawn to this process because it mirrors their own experiences and emotions. The genre allows viewers to reflect on their past or anticipate their own future, which gives the films a sense of relatability and relevance. Whether through quiet introspection like in The Perks of Being a Wallflower, witty humor like in Juno, or playful exaggeration like in Clueless, coming-of-age stories create a space where audiences can see themselves grow alongside the characters, which is a key reason for the genre’s enduring popularity.