East of the Sun, West of the Moon
Welcome!
We are a group of third-year film students who are producing our final project. This will be a 10-15 minute short film where we hope to achieve our absolute best work. We are midway through the pre-production process where luckily we have been able to acquire a location for free - however we need more of a budget for travel, production design, costumes, and catering. Our university has kindly sponsored our film for £250, so we aim to raise £750 to reach our £1,000 goal. Although we have scouted a location for free, and have brought our expenses down massively, it's always best to have a contingency plan!
The story:
"A young witch lives, isolated, in a cottage within the forest along with her sisters. She spends her days secretly daydreaming about a life that she only read about in her fairytale books, ahe one late night a badly injured man stumbles onto their doorstep, begging for help."
Characters:
MAIN PROTAGONIST:
Alvilde: A young, naive, witch that lives in isolation with her sisters in the forest, who worries her magical abilities will never appear. she hasn't had any contact with anyone other than her sisters. She uses books to create an escape from the fractured relationship she has with her two older sisters.
MIDDLE SISTER:
Ragnhild: Deeply loyal to a fault, and will always follow Freja's orders. Always wants to stay out of trouble and wants nothing more than for her sisters to get along.
OLDEST SISTER:
Freja: Has no choice but to take the lead and do anything to protect her sisters - even if it means killing anyone who means harm. Everything she does comes from a place of love and protection.
MAN:
Unnamed: Mysterious man who appears in the story when he is in need of help. He wants to protect the people he loves but stumbles upon our protagonist when she is alone and vulnerable, therefore appealing to her naive view on the world.
Although a small cast, our character's' choices enable us to tell a story that is both captivating, yet compelling, that combines a unique blend of drama, tension and heart, with a story that will resonate with audiences of all ages. By supporting our film, you'll not only be part of an exciting cinematic journey but also have the opportunity to make a positive impact in the world of filmmaking and storytelling.
Crew introductions:
Producer - Lucy McCoy
Instagram:
@lucyfilmmkr
@lucyharrietmccoy
My goal for this project is to enable everyone taking part in this creative process to create something that we're all proud of. I want to give them the opportunity to work on a set that is full of passion for this project and enable them to push the boundaries of their skills. By raising funds for this film, I am able to give my crew more support and better opportunities, and with more funding, I could improve our production resources which enables the Director, DoP and Production Designer a chance to fulfil the potential of this film. I am also able to use some funds for a contingency plan in case there are any issues with filming, schedules, locations etc.
Director - Nora Holmen
In this project, I want to tell a coming-of-age story about a young person's struggles with feeling inadequate in their own family. It takes place in a fantasy world, with our main character Alvilde finding solace in books and fairytales. I thought it would be interesting to tell her story through a more realistic and 'grown-up' fairytale, highlighting the outdated tropes. To create a sense of otherworldliness, I want to have a fluid and dance-like harmony between the girls in the first act, which Alvilde disrupts to show her disconnect. We'll use low lighting and candlelight during intense and eerie moments to add mystery and drama. I'm also drawing inspiration from the Norwegian fairy tales I grew up with, focusing on the soundscape and atmosphere to immerse the audience.
Moodboard:
Director of Photography - Morgan Woolcock
Our story revolves around three young witches who are dealing with some serious issues. I want to create visuals that reflect their traits and personalities, using specific motifs to enhance their characters. For instance, Alvilde, who feels isolated from her sisters, will be visually separated from them within frames to emphasise this disconnect. On the other hand, Freja's intense nature will be highlighted with tight frames that capture her power and create tension. Since the girls are cut off from society, I want to portray that in the visuals too. When they're outside, the forest will fill the empty space between them, creating a sense of isolation. When Alvilde is alone, I'll use wide shots to introduce her character, and when she discovers the man and imagines a different world, I'll use closer shots to show her perspective. The film's tone and atmosphere will be essential in creating the magical and mystical vibe we're aiming for. In the cabin, we'll have low lighting with lots of contrast, and candles will be the main source of light. I'm also planning to do more research, looking into existing films and Nordic paganism, to establish a strong visual style that will be evident throughout the entire production process.
Moodboard:
Production Design - Donya Halvai
As production designer for this short film, I aim to help bring the idea to life with the use of locations, outfits/costumes, and props. These are all important to the production set as it will help tell the story of the film and allow the audience to feel as if they are witnessing the plot in real time.
For the locations, we have scouted a woodland cabin near Romsey that we will use to shoot the interior scenes with. The interior of the cabin is smaller than most cabins though it has many old-fashioned aspects to it, such as wooden beams, large windows, and wood flooring. All these qualities can tie in with the older, woodland aesthetic set. It will be mostly warmly lit and will have a dark yet cozy atmosphere. Alongside the locations, I strive to make sure that the costumes will also be on theme with a Nordic, witchy feel to the outfits. They will include feminine, mediaeval-like dresses for the main characters. These dresses can be described as being mostly solid, dull colors to match the time period that the plot is set in. It will mostly be loose-fitting, however the youngest sister, which is the main character, will have their own differently themed dress to separate her story from the others.
Props, including candlesticks, dull-coloured tapestries and old cutlery, will be set among the dinner table mostly as it is a more crucial scene of the film that shows the separation of the youngest sister and her struggles. Overall, nothing too modern will be shown to captivate the essence of the time period and its rural locations.
Sound Op - Thomas Dunne
Sound is a crucial element in creating the right atmosphere for the film. I plan to use Nordic-style music that reflects the essence of the three witches. It's important because it sets the stage and gives the audience a sense of who the witches are and their background, tying into their origins and the overall feel of the film. This music will also help build tension during key moments, grounding the film and immersing the audience in the story.
I'm also considering recreating Norwegian folk music or collaborating with musicians to create original scores for the film. This will add an extra layer of depth and give the film a personal touch.
Sound is invaluable in creating a captivating experience for the audience. By combining various tracks, scores, Foley, and atmospheric sounds, we'll sculpt a unique tone and texture that will make the film stand out and engage the audience on an emotional level. Sound truly plays a vital role in bringing the film and its characters to life.
Nial Brennan - Editor
For the editing of this film, I want to fully immerse the audience in the drama and emotion of every scene, allowing them to experience the world from the women's perspective. To achieve this, I plan to use a warm color palette for shots inside the cabin, creating a sense of safety and comfort. On the other hand, for exterior shots, I aim to use a colder and uninviting color palette to build tension and create a contrasting atmosphere. I also want to experiment with subtly adding this effect to the shots with the man in the cabin, highlighting the sisters' fear and uncertainty. However, I'll make sure to test it to ensure it doesn't distract the audience. Additionally, during argument scenes, I intend to use quick, overlapping cuts to amplify the chaos and increase the audience's anxiety. Overall, I believe these editing choices will enhance the storytelling and captivate the viewers.
Thank you!
Thank you for taking the time to understand our project and what we hope to achieve with the raised funds. I hope that you are able to envision our story, and perhaps, if you can, help support this project - by donating
Thank you again.
Lucy McCoy
Nora Holmen
Morgan Woolcock
Donya Halvai
Thomas Dunne
Niall Brennan