One Night More is a story of inner-city romance set in modern day London and how two people can meet and change each others lives to make them think differently about themselves and how change is an inevitable thing and also a constant. We explore the complex, albeit brief, relationship between Rose, an aspiring photographer, who meets Khrisna - a dancer.
The film gives an unique, negative and perhaps melancholy perspective on love and attraction and how people at the end of the day just might not be attracted to one another, and must simply learn how to move on to the next thing, whatever that might entail. The story isn't trying to say anything big or new in regards to romance other than subverting 'the teenage ideal' of being in a relationship which sees no lasting potential just for the sake of fitting in.
The film gives an unique, negative and perhaps melancholy perspective on love and attraction and how people at the end of the day just might not be attracted to one another, and must simply learn how to move on to the next thing, whatever that might entail. The story isn't trying to say anything big or new in regards to romance other than subverting 'the teenage ideal' of being in a relationship which sees no lasting potential just for the sake of fitting in.
The Inspiration
The film's inspiration drew from both independent & contemporary films for inspiration - such as Lost In Translation, Drive, Palo Alto, Eden and Carol. There are similarities and differences in these films; some are perhaps written more like a cohesive narrative while others may showcase the more mundane yet integral aspects of life, using experimental cinematography or subverting genre conventions and some might say by being 'care-free'.
We're also drawing from personal experiences, adventures, mishaps, relationships that didn't quite work out and just generally expressing who I am as a filmmaker and a storyteller. I know that people will find a lot of the themes relatable.
We're also drawing from personal experiences, adventures, mishaps, relationships that didn't quite work out and just generally expressing who I am as a filmmaker and a storyteller. I know that people will find a lot of the themes relatable.
Where Are We Now?
As of 1st February 2017, the project is now completed and at its packaging and mastering stage prior to our planned set marketing & distribution phase.
The concept of making a 'no budget' feature film was something which spawned around two years ago by the project's director. During Late December 2015, Plans were started and ideas began to form to fully realise a 'no-budget' indie feature film during the summer holidays of 2016, with the majority of pre-production starting in February 2016, it was at this point Louis brought on the film's earliest collaborators to start work; Liam Abbott [Screenwriter & Co-Director] and Nico Ratanavong [Director of Photography] with the rest of the team becoming involved as pre-production progressed, followed closely by rehearsals, prior to the first shooting day.
One Night More underwent 4 months of intensive post-production which commenced in late October at University of Westminster to ensure the film is the best it possibly can be.
Read about the stages of production below - Pre-Production, Production, Post-Production and Marketing & Distribution Plans
The concept of making a 'no budget' feature film was something which spawned around two years ago by the project's director. During Late December 2015, Plans were started and ideas began to form to fully realise a 'no-budget' indie feature film during the summer holidays of 2016, with the majority of pre-production starting in February 2016, it was at this point Louis brought on the film's earliest collaborators to start work; Liam Abbott [Screenwriter & Co-Director] and Nico Ratanavong [Director of Photography] with the rest of the team becoming involved as pre-production progressed, followed closely by rehearsals, prior to the first shooting day.
One Night More underwent 4 months of intensive post-production which commenced in late October at University of Westminster to ensure the film is the best it possibly can be.
Read about the stages of production below - Pre-Production, Production, Post-Production and Marketing & Distribution Plans
The Filming Process
Pre-Production
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Pre-Production involved getting our Casting Director, Melina Namdar, onboard at a very early stage to ensure the Director and prospective casting panel were well informed about the process of Casting as this has been a first attempt for some and also for using notable websites such as StarNow and Casting Call Pro to source a shortlist for actors who would then come into audition for us at Eastside Educational Trust (a big thank you to them for their cooperation). We used a combination of methods, communication and advertisement of which was spread using popular social media methods and word of mouth, to attract a huge roster of people, of which we saw across a jam-packed two-day period in brief audition slots.
Louis Earle, the film's Producer, was brought onboard prior to Casting during the shooting schedule planning stage. It was his debut project, and a project of mammoth-sized ambitions, but with the collaboration between the two Louis', their experience and passion for organisation and filmmaking was combined and realised to create a sophisticated schedule and production folder for the film to take shape.
We then confirmed our two main leads for the film would be Abigail Morgan (Rose) and Amir Ebrahim (Khrisna) with a chosen supporting cast to follow.
Louis Earle, the film's Producer, was brought onboard prior to Casting during the shooting schedule planning stage. It was his debut project, and a project of mammoth-sized ambitions, but with the collaboration between the two Louis', their experience and passion for organisation and filmmaking was combined and realised to create a sophisticated schedule and production folder for the film to take shape.
We then confirmed our two main leads for the film would be Abigail Morgan (Rose) and Amir Ebrahim (Khrisna) with a chosen supporting cast to follow.
Production
Principal Photography of One Night More took place over just 12 shooting days in and around London over a period of just under one month in total. The short shooting period was hailed by all involved as a roaring success for independent filmmaking both for the resourcefulness of all Cast & Crew involved and for the sophistication of locations and careful planning and pre-production infrastructure that greatly benefitted our shooting period and saved major costs.
Our locations and subsequent scenarios we had to create included a double-terraced house in suburban west London, a club scene, a sprawling countryside park and a cottage with panoramic views over south London - with our locations, we really wanted to capture the essence of London by using places which would both connote 'London' and would also conflict with it. We wanted a set of urban locations that would highlight the grit and appeal as well as those off-the-beaten-track places, in both the literal and metaphorical sense.
Our original first-conceptualised budget was a ultra-micro but still fairly reasonable £10K but was revised down to £5K soon after and £2K after further cuts to the core essentials of items for acquisition; these mainly consisted of location costs, accessories for equipment, fortunately the entire equipment inventory was provided by the film's DoP.
We were incredibly lucky with the support we got from the various location owners, and friends & family for supporting us financially throughout production, besides the IndieGoGo platform, to keep the project moving; there were times when it was very tricky but it was thanks to the dedication of our connections that we were slowly able to make this film a reality.
Our locations and subsequent scenarios we had to create included a double-terraced house in suburban west London, a club scene, a sprawling countryside park and a cottage with panoramic views over south London - with our locations, we really wanted to capture the essence of London by using places which would both connote 'London' and would also conflict with it. We wanted a set of urban locations that would highlight the grit and appeal as well as those off-the-beaten-track places, in both the literal and metaphorical sense.
Our original first-conceptualised budget was a ultra-micro but still fairly reasonable £10K but was revised down to £5K soon after and £2K after further cuts to the core essentials of items for acquisition; these mainly consisted of location costs, accessories for equipment, fortunately the entire equipment inventory was provided by the film's DoP.
We were incredibly lucky with the support we got from the various location owners, and friends & family for supporting us financially throughout production, besides the IndieGoGo platform, to keep the project moving; there were times when it was very tricky but it was thanks to the dedication of our connections that we were slowly able to make this film a reality.
Post-Production
The film was edited by First Year Westminster Film Student, Olivia Parkinson, whose previous credits include assistant editor on The Substitute (2015), and is currently working on a new project entitled 'Party Animal' as director with Louis Holder [as Producer]. Olivia specialises in Editing & Directing so it was a joy to work with her and worked tirelessly during the winter period to ensure it was the best it could be.
Louis and Olivia spent many hours discussing the project prior to the planned post-production period and both had discussed about the vision, and waylaid the necessary groundwork to facilitate post-production including conforming all raw media shot on our A-Cam; the Blackmagic Pocket Cinema Camera to a crystal-clear 4K image and creating a 5.1 Surround Sound Mix as the technical specifications of the finished output.
As the footage was shot in Blackmagic's native RAW codec this meant greater control over our editing workflow including the conforming process from it's RAW form through the high-end colour grading and mastering application DaVinci Colour Resolve to create 4K Quicktime Files which could then be edited using Final Cut Pro X to create the theatrical cut for which will be published to festivals worldwide.
In Film vs Digital terms, the camera we used has the equivalent of a Super 16mm sensor, therefore producing images of that size whilst also preserving the much loved grain and feel of 'film', and because of the way the files were captured and processed digitally we had to treat the process as such which gave way to the need of having a substantially large digital file system which required three 8TB HDDs.
We were very fortunate in that we had the facilities of University of Westminster which was the main base for Post Production including facilities at the homes of both Director & Editor.
Louis and Olivia spent many hours discussing the project prior to the planned post-production period and both had discussed about the vision, and waylaid the necessary groundwork to facilitate post-production including conforming all raw media shot on our A-Cam; the Blackmagic Pocket Cinema Camera to a crystal-clear 4K image and creating a 5.1 Surround Sound Mix as the technical specifications of the finished output.
As the footage was shot in Blackmagic's native RAW codec this meant greater control over our editing workflow including the conforming process from it's RAW form through the high-end colour grading and mastering application DaVinci Colour Resolve to create 4K Quicktime Files which could then be edited using Final Cut Pro X to create the theatrical cut for which will be published to festivals worldwide.
In Film vs Digital terms, the camera we used has the equivalent of a Super 16mm sensor, therefore producing images of that size whilst also preserving the much loved grain and feel of 'film', and because of the way the files were captured and processed digitally we had to treat the process as such which gave way to the need of having a substantially large digital file system which required three 8TB HDDs.
We were very fortunate in that we had the facilities of University of Westminster which was the main base for Post Production including facilities at the homes of both Director & Editor.