A Stitch In Time - Short Film
A short psychological drama about a young man's decision to take revenge or make a better choice.
A boy may be dead. Injured, anxious and wired, Tony has to work out his next step.
A STITCH IN TIME is a psychological drama played out inside a hospital cubicle, where Tony is navigating a situation that will mark his future. Tony, arrives in A&E, cut and stressed out. His friend stabbed, and garbled text messages from his friends as company, Tony concludes that Jay’s aggressor; has arrived in the cubical next-door. Confused and agitated Tony is trying to decide how or even if he should exact revenge. On meeting fellow patient Ant, Tony’s battle receives knowing and unexpected intervention.
Having spent over 23 years working in photography, Graham has a wealth of visual knowledge to call on. Film and cinematography has always played a huge part in his inspiration. It was in 2014 that Graham decided to make his first foray into film making, by writing and directing a fashion film,CLEMENTINE.
Well and truly bitten by the directing bug in 2015 Graham collaborated with award winning poet Kate Bingham, to co-write his first narrative short, BE NOW. The film has been screened at over 12 festivals internationally. The central question of BE NOW, concerns the choice which the protagonist is struggling with, it is also the first of a triptych of films dealing with the challenge of being faced with life changing decisions. In pre-production, A STITCH IN TIME is the second in the series, to be followed by THE MEETING POINT currently in development.
Dramatically exploring the power of choice, A STITCH IN TIME asks, “If you had the opportunity to advise your younger self, would you?” urging audiences to consider how and why they make the choices that have led them to where they’ve arrived today. It’s partially a reflection on the difficult and sophisticated decision-making young people find themselves making nowadays.
A psychological drama, the film is for audiences aged 15+, people who will value the tense plot as well as the thoughtful nature of the story. Comparisons might be made with films like Broken (dir. Rufus Norris 2012), Fish Tank (dir. Andrea Arnold, 2009), Sommers Town (dir. Shane Meadows, 2008) which feature young people at risk or negotiating risk.
There’s opportunity for A STITCH IN TIME to be a tool for discussion about the most challenging aspects of contemporary youth, by considering themes raised by the plot (violence and drug abuse) and highlighting the work of organisations set up to support people experiencing or at risk of experiencing these issues; maximizing the power of drama to hold a mirror up to society and make it question itself.
Our audience engagement strategy will include the use of social media, and screenings in association with partner organisations, to reach out to those who the film is for.
The film also demonstrates a development in our practice as filmmakers, the running theme creates an opportunity for the full triptych to be shown as a programme; extending the life of the films and continuing to platform the talent behind them.
As a provocation, the film will be a useful tool in awareness-raising on the subjects it portrays. Alongside organisations that have the expertise to present sensitive topics in a meaningful way boosts the film’s power.
We have approached a number of organisations with the offer of screening the finished film in exchange for their promotional endorsement. So far, we’re working with:
The Ben Kinsella Trust An organisation whose mission is to use the true and powerful story of Ben Kinsella to educate young people about the consequences of choices, so they stay safe and away from crime. They educate young people; to provide advice, support and guidance with the aim of raising self-esteem so that young people can resist peer pressure and make positive life choices. www.benkinsella.org.uk
Mouth That Roars
Producers of films made by young people, encouraging them to challenge mainstream opinion, highlighting their own perspective. MTR supports young people to develop self-esteem, self-confidence, self-awareness and motivation. By providing good youth work practice that supports an experiential learning environment, increasing young people´s awareness of their community and others. mouththatroars.com
A charity that has, for 50 years, provided support to drug and alcohol users, their family and carers. Blenheim works on the foundation that recovery is possible for everyone and everyone should have the opportunity to reach their full potential. Providing support and services that are free, friendly, and non-judgmental, they not only improve the health of the individual, but also having a lasting positive impact on the wellbeing of their families, friends and communities in which they live. blenheimcdp.org.uk
We’ll update on further partners as they join the project.
Graham first came across The Allegory of the Cave in a film-making workshop, where it was used to describe what the film maker can do, by limiting the world in which the audience exist while watching a movie. Curiosity piqued, he delved deeper into Plato’s famous work.
In this reinterpretation of the allegory, Tony is the last of the cave dwellers, he is lost and confused in the sounds and shadows around him, which are limiting his view of the world he is about to fully enter. But luckily for him, there is a voice of experience which comes from beyond the curtain next to him, to explain one of the truths which could become his future if he decides not to listen.
This is our creative team so far and you’ll see more updates on this as the campaign progresses:
Producer - AKUA OBENG-FRIMPONG
Akua has production managed several shorts in 2012 she set up Kind Production a produced Tech Support (dir. Guy Armitage, 2013), Roxanne (dir. Paul Frankl, 2015) and Rachel (dir. Karen Anstee, 2016). This work has been seen at festivals including Palm Springs International Film Festival, East End Film Festival, Aesthetica and London Short Film Festival. Most recently, Akua has been production managing an artist film by Lucy Parker entitled Blacklist.
Passionate about creative process and connecting audiences with authentic story-telling, Akua’s background also encompasses theatre and community arts. When she’s not producing, she can be found at Cambridge City Council where she supports and advises local arts organisations and practitioners in her role as Arts Development Officer.
Casting - ANNIE ROWE Annie originally trained as an actress at the National Youth Theatre and RADA. She uses this insight to successfully cast productions, having been a fully independent casting agent for the last seven years. We are very pleased to be working with Annie on this production, and trust her totally to help us fulfil the cast requirements. www.annierowe-casting.com
Editing - EMMA COLLINS Emma, did a great job cutting BE NOW with Graham. Emma has a wonderful eye and a subtleness of touch which is going to prove invaluable in a film such as ‘A STITCH IN TIME’. Emma has a very impressive long list of feature and short film projects under her belt, Disney, BBC and Lionsgate are some of the production companies which Emma has already worked with. Look at some of her previous work here: www.emmacollinseditor.com
Sound Design & Music Composition - JOEL NEALE
Joel also worked on BE NOW and blew Graham away with his intuitive contribution to the atmosphere and feel. The sound of a film is as evocative as the images and one without the other is like Laurel without Hardy. Joel has 27 sound department credits to his name along with his 12 credits for composition of film soundtracks, he also regularly freelances for BBC and Channel 4 productions. It’s great to have Joel on board another project. joelneale.tumblr.com
Production Design - JO ATKINS-HUGHES
Jo has a wealth of experience which she brings to bear on the task of designing the look and feel of the films which 7&8 productions have undertaken. This is the third film which Jo has designed for the company. Before entering into the world of moving image, Jo had a very extensive career working in printed media, having held many positions on magazines, while also styling several high-profile advertising campaigns for the likes of Remy Martin, Marks & Spencer, Procter and Gamble and Aviva Insurance. www.joatkinshughes.com
The 2 main roles are characters with complex history requiring strong emotional range.
Auditions for the role of Tony took place just prior to us launching this campaign and we have almost secured an awesome actor for the role of Ant, who we’re excited to reveal later in our campaign.
Annie is also doing stellar work to source supporting cast. Watch this space for further updates.
With only snippets of conversations heard through the curtains against the noises of the ward, Tony is making a choice. Should he risk all on the path of revenge, or walk away.
In presenting Tony’s story, the sound and light that surround him have a visceral quality. Like the use of white noise in Jonathan Glazer’s, Under the Skin, as the narrative develops sounds which are of no use to Tony will become disorienting distraction and the conversations he manages to tune into lead him to numbness in his thoughts.
Hospitals are busy places, with lots of extraneous sounds. A multi-award nominated sound designer, Joel Neale fully understands the use of the layered sound technique we will employ for A STITCH IN TIME .
Our plan for producing A STITCH IN TIME covers the end to end process, ensuring that we not only shoot the film but complete post-production and screen it. The film will be presented at screenings in association with our partners as well as submitted to festivals.
August– End-September, Pre-Production We’re currently securing a studio and recruiting crew, who will help drive the logistical elements of our shoot. In parallel we’re developing a marketing and festival strategy, ensuring that once A STITCH IN TIME is complete, we maximise the opportunities available.
August - September, Crowdfunding This campaign is running for 4 weeks and in that time, we’ll spread word of the project as far and wide as we can, by email, our local press and social media. Hopefully you’ll help us with that too.
October, Production & Post-production We plan to shoot over 3 days in October and have ear-marked dates which will become concrete once our funding is secured. We’ve allocated 5 weeks for the edit, grade and sound mix.
November, Cast & Crew/ Screening An opportunity to watch and celebrate the end product. We’d like to celebrate our efforts as a team as soon as possible, before A STITCH IN TIME begins the journey of partner events and the festival circuit.
January 2018 – June 2019, Distribution & FestivalsWe anticipate that A STITCH IN TIME will have a life of approximately 18 months within the festival circuit. During this time, the film will also be making its way to the schools and community groups that the backers have chosen. In addition to festivals we aim to seek distribution online (or via a distributor). Ensuring we share A STITCH IN TIME with the widest possible audience.
Our budget focuses on covering people’s time at a minimum rate.
We (Graham and Akua) are investing some of our own money into the project and we aim to raise the remaining 75% of our funding here on Kickstarter. These are our costs:
Cast = £2,200
Crew = £4,125
Studio = £1500
Camera & Lights = £4550
Art Direction, Costume & Make up = £1950
Production Transport = £1000
Catering = £1615
Additional Insurance = £220
Post-production, Music & Sound = £2,650
Marketing & Festivals = £875
Contingency = £1034
Total = £21,719
We are making creative solutions to be economical in our approach, by seeking the best deals on equipment and studio. We even have our dedicated team working on minimum wage. However, we’ll get the best from our colleagues if we invest in a safe, sound working environment, with appropriate tools and skills for the work required.
Even if you can't contribute cash, you can help us reach the target by sharing the campaign amongst your friends, family and colleagues. The film's over arching theme of the power of choice is compelling and universal, our campaign updates will show how we're engaging others in this topic.
Thank you for reading.
Risks and challenges
Filmmaking is a risky business, with possible delays in schedule due to unforeseen location, and kit problems (and many others). But with a talented creative crew and super-organised production team, we feel the risks are minimised, and any problems or delays that do come up will be handled efficiently and professionally.
Communication is the key to any successful shoot, that includes on set between crew, between the heads of department in preparation, and between us and you. We will ensure you are kept up to date with our production process, letting you know what is going on and when, so that everyone is on the same page and kept in the loop. We feel that open and honest communication is the best and fastest way to resolve and avoid any unwanted bumps in the road.
These factors will ensure that our funds are managed well.
- An experienced team with strong technical, creative and project management skills
- Crew sourced through tried and tested networks
- Ensuring the collaborators connect with the story, this job is not for the money
- Contracts to ensure fairness and transparency
- Reliance on good scheduling and logistics to manage funds efficiently
- (29 days)