CREW PHOTO - TAKEN AFTER WRAP 

Behind the scenes pictures of the Crew working hard this week

Welcome to 47 Orchard Street!

 

We are proud to announce our main cast:

        HIRSCH 


    Allan Corduner 

                 
                       MORDECAI REZNIKOFF


                      Danny Webb 

 

MRS. AUGUSTA 


  Kika Markham 






















                     ISIDORE 


              Roger Lloyd Pack 

Sketches/ideas for the animation sequence in the film. Hirsch becomes engulfed in the animation as he is finally ready to face the reality of the incident that changed his life forever. 

Pictures from last Friday's Production Meeting

Hirsch's appartment & Hallway

DoP (James McLauchlan), 1st AD (Julia Brown), Director (Reuben McNaughton) and Production Designer (Jessica Esmond)

creative approach

With 47 Orchard Street we hope to make a film that is enjoyable on all levels. At the core of any film should be a good story and creative ideas that bring that story to life on screen. Our film has huge potential to take advantage of the contrasting emotions; from the cynical and, at times, dark comedy to the sadness of Hirsch’s guilt ridden state of agoraphobia. We are planning to use animation during Hirsch’s hallucinations which will give the film potential to set itself apart from other films that deal with same kind of themes. This blog entry will enlighten you about the different creative approaches we are going to use in making 47 Orchard Street.

  Production Design
 - Set in 1920’s New York, Production Design is going to be integral to the believability of the setting in the flat. The hallucination scenes offer more creative opportunity as the film progresses to be experimental in the set design.
 - FLAT: cluttered as Hirsch is a hoarder, props offering clues to his past. Wanting to highlight elements of Hirsch’s agoraphobia via set design.
 - We are looking to put a large amount of the budget into the production design as it’s extremely studio based and specific props relevant to the time will be required such as gramophone, sewing machines, chess set, and overall design.

  Camera
- Deep lighting aesthetic (examples: Once Upon a Time in America, The King’s Speech, The Godfather – depth and colour (possible grade). Deep monochromatic feel.
 - Creative opportunities to visually show distinctions between hallucinations and reality. - Shooting style offers potential for diversity from the beautiful aesthetic to the grittier, experimental shots.
 - Smoke used to create dusty feel in the apartment.

  Sound
- Music (and the distortion of music) could potentially play a very large part in the film and will give the Sound Designer huge creative opportunity.
 - Use of the music to help set the period, with examples such as Charleston, Kurt Weill, Duke Ellington and Jakub Kagan.
 - The music will be used as a way of highlighting Hirsch’s unhappiness either via juxtaposition (Charleston) and using something more fitting to his mood