Issuu

Rowen Smith

900593

Directorâ€˜s Treatment

Jean Pant

Rowen Smith Writing Treatment

rowen.work@gmail.com

+27(0)796470077

Abstract Stories grow out of what characters do, and, in turn, what characters do grows out of what they want. This is the story about Neelsie van Niekerk, the skinny musical genius and swimming instructor who does the unexpected.

Table of Contents Part 1: Interpreting the Narrative for Audience Entertainment             

1.1.1 The Filmmaker‘s message…………………………………………………………….4 1.1.1 One page Outline………...……………………………………………………………5 1.1.2 Overarching Conceptual Relevance………………………………………………......6-14 1.1.3 Overarching Emotional Relevance……………………………………………………15-18 1.1.4 The Target Market…………………………………………………………………….19-22 1.1.5 Subcultures & Environment…………………………………………………………...23-26 1.1.6 Social Status Quo……………………………………………………………………...27 1.2.1 The Narrative Structure……………………………………………………………......28-29 1.2.1 The 5 Narrative Beats……………………………………………………………….....30-31 1.3.1 Scene by Scene: Event Narrative……………………………………………………….32 1.4.1 Scene by Scene: Character Narrative…………………………………………………...33-34 1.5.1 Fulfilment & Self Actualization………………………………………………………...35-36 1.5.2 Resolution & Resonance……………………………………………………………......37-38

Part 2: Translating the Narrative into the Medium of Delivery        

2.1.1 Genre…………………………………………………………………………………….39-42 2.1.2 Translation Style…………………………………………………………………….......43-51 2.2.1 Ground and Floor Plans(Addendum: A) 2.2.2 Staging Actors …………………………….…………………………………………….52-53 2.3 Shot List ( Addendum: B) 2.3 Storyboard (Addendum: C) 2.4 Visual Breakdown: Production Design…………………………………………………….54 2.4 Acoustic Breakdown: Sound Design & Music…………………………………………….55-56

Part 3: Translating the Narrative into the Medium of Delivery    

3.1 The Cast…..……………………………………………………………………………….57-65 3.2 Dramatic Atmosphere…………………………………………………………………….66-67 3.3 PD and CMS Requirements………………………………………………………………68-69 3.4/3.5 Action & Shooting Requirements..………………………………………………......70

Part 4: Dynamic Force of the Narrative Code  4.1 Prose Writing……………………………………………………………………………71  Image Systems………………………………………………………………………………72  Final Words………………………………………………………………………………….73-74 Part 5: Bibliography & Addendums       

Bibliography…………………………………………………………………………………75 Addendum A: Floor & Ground Plans Addendum B: Shot list Addendum C: Storyboard & Animatic DVD Addendum D: Marked-up Script Addendum E: Photo Diary Addendum F: Test shoots DVD : Technical/ Performance / Visual

The Filmmakerâ€™s message The message I want to tell with Jean Pant is a simple one. Jean Pant is a tradition plotted story. It has a beginning, middle and ending. I am focussing on resolution rather than resonance. The characters and narrative world in Jean Pant must be specific to the story without relating everything to a modern South Africa. I want the audience to go on the emotional journey with Neelsie through the visual montages and ultimately question why he chose to run naked in the end.

Fundamental Comedy Premise When X happens, he/she tries to get Y, and ends up with Z When a pathetic high school home economics teacher and part time swimming instructor tries to find love and acceptance from a sexy popular netball teacher but ends up finding himself naked at the swimming pool.

One page Outline Working title: Jean Pant

Genre: Comedy

Subgenre: Afrikaans Language Film

Length of slot & format: 12min narrative short Digital/ 16mm Film

Target audience: The film is targeted at the biggest common film audience in South Africa. In 2011, 44% of The South African Film Industry‘s revenue was generated from Afrikaans films. Jean Pant targets South African Afrikaans males aged 16 – 25 old. It also targets older men 40 to 50 years of age. Its secondary film audience is Afrikaans females 19 – 23 and the tertiary film audience is Afrikaans children 10 to 13. Tagline: Dis die dun oukies wat die vuur aan die brand steek, maar dis dis die dik hout wat die kos gaar maak. Comedic Premise: When a skinny swimming instructor who struggles with Never-nudism searches for love and acceptance, only to find himself instead. Logline: Neelsie van Niekerk an underappreciated swimming instructor falls in love with school‘s new Netball teacher, Suzette Allerman. He fails to impress her time after time and at the annual school gala, he relives his past which gives the rugby coach, Frank Hennop, the upper hand. Neelsie regains some hope from his loving swim stars to only be defeated one last time. Out of utter humiliation, Neelsie decides to streak through the school. Story Synopsis: Neelsie van Niekerk mister underappreciated at Wellington pubic school falls in love with Suzette Allerman, the new Netball coach. He is confronted with Frank Hennop, the stereotypical rugby jock, who also tries to get in her pants. The two men must prove their love to her at the annual Wellington fun gala. Neelsie fails to impress and fails to conquer his fear of the water, but Bernadette another misunderstood misfit gives him tough love. Neelsie misinterprets her message and streaks through the school expressing feelings of liberation, verbal vengeance and freedom. He finds himself back where it all started. The swimming pool, but does he swim again and wash away his past?

Overarching Conceptual Relevance Binary Codes The narrative has three different binary codes that holds it together and enhances the emotional engagement of the audience. The primary binary code is Acceptance vs. Rejection, the secondary; Escaping vs. Confronting and the tertiary binary is Protected vs. Exposed

1. Acceptance vs. Rejection This binary relates to the target audience on a very personal way and we express this binary with the effective use of modern teen subcultures. An Afrikaans South African audience can relate to the stereotypical ―Rugby Jock, Anti- Jock, High School Preppy Afrikaans subculture, South African GirlsSports subcultures and Heavy-Metal-High-School-Misfits. Thus this binary relates to our audience on an emotionally relevant way. This binary is evident in all scenes with our central protagonist, Neelsie van Niekerk and our Wise Old Man character archetype, Bernadette Britz.

ACT I -

We visually express a theme of rejection when Neelsie is in a state of loneliness at the school. He is a kind-hearted character that loves his little swimmers who also struggle with some sort of Acceptance vs. Rejection stereotype that is influenced by rugby, femininity and parental expectations in the South Africa Afrikaans subculture.

ACT II -

As the plot progresses, we feel for Neelsie as he fails time and time again to achieve his ―character want‖. Neelsie wants Suzette and every time he communicates with her, he fails to impress due to our antagonist and main comedic opponent, Frank Hennop, who enforces this binary.

ACT III -

Neelsie finally accepts defeat when he sits on the pavilion. Bernadette gives him a very important life lesson of tough love and self-acceptance. Neelsie does the unexpected, he streaks naked through the school on a mission of verbal vengeance towards Suzette and Frank, only to find himself back at the swimming pool. Our central character fulfils the binary by facing his fear and accepting his hurtful past.

2. Escaping vs. Confronting

The second binary code is Escaping vs. Confronting. Throughout the narrative progression of the story, Neelsie is put in a position of confrontation. Through shot selection and character staging, we enforce the fact that Neelsie is in a position where he feels confined and restricted. Every time the protagonist and antagonist meet, Neelsie is pushed in a corner where he needs to confront him, but doesnâ€˜t. This is very common character trait that the underappreciated-protagonist-high-school-story has.

ACT I -

Neelsie meets Suzette on the netball court where he is humiliated and reduced by the antagonist, Frank Hennop. Neelsie decides to flee the situation. An important character trait is revealed. Neelsie suffers from Asthma and he gets a mild panic attack on the court and everyone laughs at him.

ACT II -

Neelsie tries to impress Suzette at the main plot event, the gala. He is put in the mist challenging and confronting position imaginable; Neelsie must swim the gala and beat Frank, but he doesnâ€˜t. Neelsieâ€˜s fear of the water is the main reason why he falls. This is also one of the strongest reasons why the comedy comes from the character and is sustained through the entire film. The weak protagonist escapes and the strong antagonist confronts.

ACT III -

Neelsie is a persistent man and he goes back, the audience is put on a level of suspense when Neelsie goes back onto the netball court, but again Neelsie fails and this time he fails so hard that he changes. This is a key moment in a comedic narrative structure (Truby 2012). The protagonist reaches a selfrevelation which leads him to confront his past and run nude through the school.

3. Protected vs. Exposed The third binary relates to Neelsie‘s character flaw. Our central character is a Never-nude. Thus he has the fear of being naked or the fear of seeing someone else naked. The film is from the comedy genre and therefore Neelsie‘s character flaw is not explained in medical terms, we don‘t focus on the psychological problems of the phobia, but we do put him in constant situations starting from the first scene, building up through the second act and finally in the third act, Neelsie exposes himself to the world. This is an unexpected event, but it is accepted by the audience through an underlining theme of liberation expressed through most dialogue scenes with Elsa, his best friend and fastest swimmer.

ACT I -

Established in ACT I, we use the little swimming champions at Neelsie‘s training lessons to expose the main character flaw, also known as the character ―Ghost‖. (Truby 2012) This is a very important narrative beat in all comedies and the ―Ghost‖ in story is that Neelsie is afraid of swimming and wears a Jean Pant to protect his penis from exposure.

ACT II -

The gala is on Friday morning and this is one of Neelsie‘s biggest annual challenges at Wellington school. He needs to swim but he can‘t. Suzette doesn‘t know this, but everyone else does. Neelsie tries to overcome his fear but the fear of humiliation is too strong. Thus he fails and hides behind the pavilion. The binary is evident in act two when Neelsie confronts Suzette by telling her that his Speedo is at home and that he won‘t swim. Thus he protects himself and she loses interest in him.

ACT III -

In the climactic beats of the film, Neelsie overcomes his ―Ghost‖, but doesn‘t get the girl. The love plot is fulfilled by the structured narrative phase called ―Lovers Not Reunited‖. (Tobias 1993) Neelsie fulfils this binary as he runs naked through the school and jumps into the swimming pool. Ultimately, this is not a story about getting the girl and ―Love conquers all‖. This is a story about a school teacher overcoming his fear of never nudism and his traumatic past at the swimming pool and through this binary, Neelsie fulfils the implicit promise of the film which is; Liberation and Letting go of the past.

5 Engaging Narrative Concepts

(Lynch, 2011) Jean Pant is a comedy drama about a high school teacher who is on a quest to find love and happiness and therefore we are looking at the top three categories in Maslowâ€˜s Hierarchy of needs. The first category is Belonging/Social Needs, the second category is Esteem Needs and the third category is Self-Actualization Needs.

1. Belonging/ Social Needs Social needs are those to interaction with other people and may include:

Need for friends

Need for belonging

Need to give and receive love

Neelsie is a loved swimming instructor, but a hated Home Economicsâ€˜ teacher and disliked Wellington Afrikaans School staff member. He is distant and introverted. Neelsie does not relate to anyone at school, which relates to the binaries and gives him a stronger connotation to Bernadette, the Emo-Misfit. Neelsieâ€˜s strongest need is to receive love. This is an underlining through line starting from scene 1. Neelsie finds the person who likes him and a possible candidate to fulfil this need, Suzette Allerman, but he fails to impress her due to a much stronger opponent, Frank Hennop. This is a conceptually and emotionally relevant category in all High School films as there is a universal need for love, acceptance and belonging in adolescence, especially the South African Afrikaans subculture.

2. Esteem Needs The second category is Esteem Needs and once Neelsie feels a sense of belonging with Suzette at the school gala where he can impress her, his need to feel important arises. Esteem needs may be classified as internal or external. Internal esteem needs are those related to self-esteem such as self-respect and achievement. External esteem needs are those such as social status and recognition.

Self-respect

Neelsie is an underappreciated high school teacher. The school staff members dislike him and most learners at the school think Neelsie is a wimp. This is shown in the opening montage where we establish Neelsie‘s common school day.

Achievement

There is a lot at stake at the swimming gala. Neelsie needs to prove his worth and stand his ground against Frank, the antagonist. He fails to swim the race and also fails to achieve his character want, which is to impress Suzette.

Attention

Neelsie does not suffer from a lack of attention. We never show his personal life at home, but we do emphasize on his training sessions with his ―Klein Kampioene‖ every day after school. His swimmers love him. They are seen as his support system throughout the film.

Recognition & Reputation

Neelsie van Niekerk is psychologically suffering from a hurtful embarrassing past (Ghost), from earlier years at the school‘s annual fun gala where he lost his bathing suit in the water during the teacher‘s race. He tries to hide it when talking to Suzette about the subject matter and through this conversation we make it clear that Neelsie feels like an unrecognized inferior teacher and man. His need to be accepted by his peers is so strong that it comes out in a conversation with Suzette and this is the one conversation that Neelsie wished he never had, as Suzette is new at the school and she doesn‘t know about his humiliating past.

3. Self-Actualization Needs The third category is Self-Actualization or Self-realization Needs. The film is a combination of the Love Plot and a Discovery Plot structures and one of the fundamental elements of these plot structures is the moment of self-realization, when the lover realizes that he/she needs to stand up against the antagonist in the final battle in order to reunite with the pursued lover. (Tobias 1993)

In the Discovery Plot, the protagonist needs to reach a point of self-realization in the third dramatic phase and in this story, Neelsie does exactly that. We visually translate this with a small subplot running throughout the film.

The underlining theme of running is crucial to the narrative climactic beats when Neelsie streaks naked in a montage of fulfilling liberation. Starting from ACT 1 we have a group of cross country runners jogging around the rugby field. And at the final moment of the character-revelation, these runners pass him. Thatâ€˜s when Neelsie knows what he must do. He streaks, fulfilling all plotlines and central conceptually relevant themes, to finally jump into the pool.

Generally relevant Themes There are two generally relevant themes that are universally timeless to an audience.

Primary Relationships: Discovering, maintaining, reconnecting and attaining a human based relationship with meaning. The main and most important generally relevant theme is, Relationships. This story of Neelsie is a journey of self-acceptance and love. Neelsie learns about love, but he also learns about himself. He falls in love and falls out of love, learning valuable experiences about relationships that ultimately lead him to self-discovery.

Secondary Individuality and Self Actualization: Discovering, maintaining, attaining or re-connecting to a sense of individuality or actualizing your potential. Adolescence orientated films/ twilight films. Neelsieâ€˜s way of thinking changes throughout the film and we translate it in a dramatized moment at the swimming pool and at the netball court. The main plot point events steer the film into the opposite direction for Neelsie. He needs to make decisions and act on them, in the right way in order to beat the antagonist. If he doesnâ€˜t do it, he wonâ€˜t find love and happiness.

Thus, Neelsie reaches a point of individuality and self-discovery when he makes his final decision. To streak and jump into the pool, where it all started.

The general relevance of the fill fulfils the underlining message we want to covey, the implicit promise. Just to be yourself and not try to impersonate someone else. Neelsie can only be himself again if he conquers his demons of the past.

Specific Relevance The specific relevance relates the specific element of the story. Neelsie‘s Vetkoek, Suzette‘s coffee, the gala, rugby, sleazy matric girls, and smokers at school, wimpy teachers and sexy netball teachers.

The Vetkoek Neelsie is a home economics teacher and he makes vetkoeke for the teacher‘s lounge every Thursday. This Thursday changed his whole attitude at school, when Suzette, the new netball teacher stands by the small craft table making her a cup of coffee. The Vetkoek is a visual metaphor that carries through. Neelsie continually tries to impress her with his baking skills, but she likes masculinity. She likes rugby.

The Coffee Suzette likes her coffee with the milk in first and Neelsie doesn‘t. When they meet, she tells him that coffee tastes better her way and Neelsie tries it. In the end in his act of verbal vengeance, Neelsie tells her exactly what he thinks of his vetkoeke, her foal coffee and rugby jocks.

The Gala The gala venue is the same venue Neelsie humiliated himself a few years ago and Suzette doesn‘t know it. She asks him about the pour attendance at the gala and he responds with misdirection when he tells her about a teacher who lost his speedo.

Rugby Rugby is also one of the specifically relevant elements of the film. Its South Africa‘s favourite sport and every single film that includes some underlining theme or a plotline about rugby will be an immediate seller in South African Cinema.

Cross Country Cross Country plays a big role in the film‘s sub textual metaphor. Throughout the film we see these unknown characters jogging round the field. They are simply just training, all day, every day. In the ends in Neelsie‘s deepest and darkest moment, right after hearing the final words from Bernadette the wise old man, he looks at these stares at these cross country joggers; one of them salutes him and carries on. This is the character- revelation moment, but we keep it subtle and leave the audience in anticipation with the build up to his streaking sequence.

Jean Pant identifies with two of the five conceptually relevant themes. The primary one is Procreation: Love and the secondary is Fulfillment: Social life and Friendship.

1. Procreation: Love Neelsieâ€˜s inner need is to find love and self-acceptance. The plot starts with the moment when Neelsie falls in love with Suzette. He acts on it and it advances the plotline. The second time the two lovers meet, Neelsie tries to impress her with words but fails when he canâ€˜t do the deed and beat Frank in a race. This brings the plot to an emotional character breakdown where Neelsie is at his lowest. His swimmers boost his confidence again and Neelsie tries to impress Suzette one last time but he fails again and this leads him to Bernadette Britz on the pavilion.

Every scene advances the plot. Every scene is conflicting and in every scene, Neelsie needs to choose how to act and what to say, his emotions get involved and he speaks too soon or too late or with false intentions. Ultimately needs learn to love himself and this fulfils the implicit promise: To just be yourself.

2. Fulfilment: Social life and Friendship This addresses a basic human condition, where Neelsie wants to wants to find happiness and excitement. The generally relevant themes are of finding love and the chemistry that these two characters have when they are with each other. Therefore the narrative concept is timelessly relevant. The concept and narrative progression is relevant to our target market.

Overarching Emotional Relevance I have divided the emotional relevance into three parts.

1. The structure of the plot creating the emotion We are following a three act Love Plot Structure with strong Cause and Effect character reactions. When the event is an exaggerated event, we get a strong emotional response from Neelsie. When the event is a normal and realistic, Neelsie gives an exaggerated response, which reveals character, character flaws, emotions and feelings.

ACT I: Lovers Found In Act one Neelsie meets Suzette in the teacher‘s lounge. He impresses her but it fails and he retreats to the cricket pavilion to over think the situation with an Emo–Goth smoker.

ACT II: Lovers Split up Neelsie fails to impress her at the gala. He doesn‘t swim. He disappoints himself. He sees Frank and Suzette together at school. He tries and tries but nothing works.

ACT III: Lovers Not Reunited.

The final effect for all this is the reunion of the lovers and a resumption of the emotional intensity of the first phase. Neelsie tries one last time after a heart to heart talk with Elsa, his favourite swimmer. Neelsie goes back for one last fight against the opponent, Frank, Neelsie fails again and this time it hits him harder than ever. He had enough. He goes back to the cricket pavilion to join Bernadette in a lonely cry for comfort; she gives the tough love in return and gets Neelsie thinking. He thinks harder than the previous time these two characters met.

Neelsie decides to the impulsive religious route, that Bernadette sub textually inspired. This plot beat relates to his character-revelation where he reaches self-acceptance and conquers his fears and jumps into the pool. The character need is fulfilled: Neelsie accepts himself now. The character problem is fulfilled: Neelsie is free from his Never-nude condition. Neelsie‘s Antagonist is fulfilled: He stands up against Frank.

2. The Cause and Effect reaction in Comedy Genre Neelsie is a lonely guy with a lonely life. He has a problem and it‘s a big problem. He desires love and a girlfriend, like every lonely guy and I experiences this sometimes. I think it makes me quite different to other guys, I‘m thoughtful and caring and I‘ll do anything to make someone happy, especially if she‘s a stunner like Suzette. She a nice girl, a sweetheart, a person than can sit next to him in the teacher‘s lounge, a person that could co-coach a lifelong career at Wellingtong Afrikaanse school. That‘s who Suzette is and that‘s who Neelsie desires. I thought I was the only one like that, most guys I see just hurt girls. I don‘t like that at all. But in the last few years of film making and storytelling, realized that I wasn‘t that special, all guys are like me.

We all want the same thing. We all want love and happiness and no one wants to be alone. We are human and we need life partners to take on this incredible journey of life.

That’s exactly what Neelsie wants and that’s what an audience will relate too. And why not show this through the most enjoyable film genre.

Comedy

I am referencing the romantic comedy Take me home tonight (Grace 2011)

Inciting incident. The two lovers meet. He feels challenged but scared and the desire of the character is clear. Neelsie is in the teacher‘s lounge when he meets Suzette. He has a new chance on life. Suzette doesn‘t know him and she doesn‘t know his past at Wellington high school.

The opponent: Neelsie impresses her at first. She likes him and he likes her. He makes her feel welcome at the gala, for the second time.

But soon after that, he fails again, sending her negative vibrations. She backs off and goes to Frank. The macho ―know it all comedic character, also known as the second opponent.

The Climax sequence: Neelsie faces his rejection; Suzette at the netball court.

The Denouement: After streaking he runs back to the pool and jumps in. Neelsie is liberated and emotionally drained but fulfilled and in the narrative beat: The new equilibrium.

The Target Market When the audience leaves the cinema I want them to feel inspired, liberation, tired from laughter and smiling. Jean Pant is a film that leaves the audience with a sense of escapism. Comedy is by far the most popular film genre worldwide and it is also one of the hardest genres to master and this is exactly what we intend to do with JeanPant.

The target audience will be fulfilled with the acting style that relates to commercial Afrikaans Language films from the last decade. Jeanpant is completely original in central conceptual idea, but is greatly influenced by other successful Afrikaans Language Films. A narrative film does not allow any misreading from the viewer, but in the paragraph below I will discuss some of the key visuals that might relate to a much more ―Art House Film Audience‖ as oppose to the ―Afrikaans Genre South African Film Audience.‖

In Neelsie‘s emotional montages we aim to visually evoke the intense character emotion that Neelsie is dealing with. The struggle with his JeanPant, his fears and his insecurities will be made clear just before plot point two. Neelsie lost the girl of his dreams to his opponent, Frank, and we move into a new equilibrium where Neelsie‘s truthful emotion is expressed which will transform this comedy genre short film into a humorous, liberating and compelling story.

5 Film References 1. Hoofmeisie (Bester, Hoofmeisie 2011)

Synopsis: Nadia van Staden is ‗n liefdevolle en gemotiveerde weeskind met ‗n ambiteuse droom – Om hoofmeisie van haar skool te word.

Hoofmeisie was referenced for its target audience. This film is a very successful genre film released in December 2011 and it hit its intended market successfully and made an incredible profit. The setting of the film is a Jan Cillier‘s primary school and the film includes classic stereotypical characters that relate to Jean Pant. One of the main reasons why this film is the first of our film references is that it was made with a very hyper-realistic expected Afrikaans farcical humor, which we intend to recreate in the context of our story.

2. Bakgat! (Bester, Bakgat! 2008)

Synopsis: Wimpie Koekemoer - the biggest geek in school. He is constantly embarrassed by his conservative mother and his strange father.

This film was referenced for the hyper-realistic Afrikaans dialect and comedic humor that transformed this picture into a cult hit in 2008. This film was made by the same director and creative team as Hoofmeisie and therefore we can draw the same shooting style, comedic humor, Afrikaans subcultures and target audience from it.

3. Hotrod (Schaffer 2007)

Synopsis: Self-proclaimed stuntman Rod Kimble is preparing for the jump of his life - to clear fifteen buses to raise money for his abusive stepfather Frank's life-saving heart operation.

This film is referenced for its unique screwball comedy genre which Jean Pant can relate to. A similar love triangle between the three central characters exists and these three central characters are similar in acting style and comedic reference. 4. Glee (TV SERIES)

When Glee first hit the screens it became very popular very fast and one of the main genre conventions of this show is the musical performance, which everyone waits for in anticipation in every episode. In Jean Pant, the same narrative emotional beats exist. Neelsie is in his moment of utter despair, we transition into a â€•Sad Montageâ€– which is emotionally relevant to the character. The effective use of romantic red and lonely blue colors is the main reference with regards to an overall aesthetic.

5. Election (Payne 1999)

Synopsis: A high school teacher's personal life becomes complicated as he works with students during the school elections. Election was referenced as it was a classroom picture in the 90â€˜s and Jean Pant is a period piece set in 2005. Election used a teacher struggling with various issues as a central protagonist and Jean Pant is similar with Neelsie van Niekerk, the home economics teacher.

Other Film and Television References Getroud met Rugby (Hanli Rolfes-Opperman 2009) Juno (Reitman 2007)

Adventureland (Motolla 2009)

Subcultures & Environment Jean Pant is a South African relevant story set in the heart of Wellington where the most stereotypical Comedic Subcultures exist. Below is a brief description of the different subcultures from the script characters.

The Anti-Jock/ Nerd Neelsie van Niekerk falls under this character stereotype. They are highly intellectual people, who know that a few years from now, it won't matter how many trophies you have, or how cool you were, because you will probably end up working for some idiot who underpays. While jocks go around looking down on anyone not in their clique, anti-jocks are friendly (despite popular belief) and are mainly friends with everyone.

The Jock A jock is really dumb, unattractive and simple. Yet is very popular with everyone just because of their athletic ability. A teen guy in high school or secondary school, who is obsessed with keeping fit and his 6 pack in tone. Usually found playing sport and being in the football, soccer, rugby squad. Stereotypically always have girls with them whilst they show off their bodies often. They can be clever at schoolwork, or sometimes can be the one who doesnâ€˜t pay attention and wants to go out and play some ball. Jocks can be found wearing blazers with team logos on and sponsors etc.

The Goth-Emo. Anti-Prep is a person that stands up for their own means. They don't have to take any shit from the jocks, gear heads or anyone for that matter. They are considered a rebel for everything that they do and everything that they can come up with in their own little world. No one can understand them. Not even if they tried or wanted to. Not many people want to be like them for that fact. Bernadette is a similar character. She also hates jocks and can relate to Neelsieâ€˜s humiliating experiences.

The Narrative World Neelsieâ€˜s story takes place in a small town where there is only one school and only one swimming pool. He is a teacher at a primary school where the school thrives on Frank Hennopâ€˜s bulletije rugby team and no one really cares about anything else than rugby.

Wellington Afrikanse School.

The swimming Gala

Local is lekker and Rugby is Top

Deserted Cricket / Cross country Pavilion/ School Smokerâ€˜s corner

Social Status Quo Jean Pant tackles to very relevant South African Afrikaans subcultures and there is a very clear message I want to convey about these two groups. First of all I want to identify them on their own. Neelsie is a skinny, lonely, nerd, underappreciated, kind and loving guy. He is a swimmer and a great cook. Frank is the tough guy rugby jock who gets whatever he wants. Suzette is a netball coach and music teacher. These three characters make a great conflicting triangle in the Afrikaans public school system. In the Afrikaans subcultures in South Africa, rugby is the heart and soul of the Afrikaner. Every father wants his son to play for the Springboks and every boy at school is in awe of the first rugby team. Swimming is also an ever increasing sport worldwide. In the recent London 2012 Olympic games Chad le Clos won a Gold medal. Most schools in and around Cape Town have their own swimming pool, but in the Free state few schools or even few towns may have a single swimming pool. Thus I am playing with the notions that rugby is the ultimate symbol of masculinity and Neelsie is inferior and feminine, although the world‘s best chefs are men.

Subtext in Dialogue In all scenes where Neelsie, Frank and Suzette are present and active, Frank reduces Neelsie in a way that relates to the stereotypical ―Rugby Jock Afrikaner‖. Here are some of Frank‘s lines that all relate to a South African Afrikaner‘s perspective on what masculinity is. When Frank speaks to Neelsie in front if Suzette for the first time. FRANK Want hy staan agter die stoof, terwyl die regte mans hierond die skool se naam hoog hou.

FRANK Because he stands behind the stove while the real men hold The schools flag up high.

Frank reduces Neelsie at the Netball Court by actually calling him a ―Big Boy‖, implying that he is playing with the Big Boys now and he should watch out. FRANK Is jy seker Grootseun, ons almal weet van jou ‘n...probleempie.

FRANK Are you sure Big Boy, we all know about your little Problem

Narrative Structure The story follows a linear narrative structured love plot. In ACT I the two lovers meet, in ACT II; the lovers split up and in ACT III; the lovers are or aren‘t reunited. Below is plot breakdown of The Love Plot narrative structure.

The screenplay is a love plot and follows its formula. It is a sentimental plot where I rely on the viewer‘s experience rather that a fictional experience created by myself for the viewer. This is a character driven sentimental love plot.

The narrative is structured around a Hollywood style love plot, which the South African Afrikaner Subculture definitely identifies with and engages with. ―Boy meets girl, boy loses girl, boy gets girl‟… organises, indeed constitutes, the classical American cinema as a whole.” Raymond Bellour (MacDowell, 2005)

In this narrative, love is not reunited and therefore it bends the third rule, creating a twist. The narrative structure follows the common rule of creating obstacles to love that keeps lovers from consummating their affair. (Tobias 1993) The comedy can be structured in many different forms. The comedic genre of Jean Pant is a screwball comedy. There are a few basic principles that apply to all comedies‘ and these techniques will make the central event problem and conceptual relevance clear.

The protagonist should have a very clear desire or goal; Neelsie has the desire for love and self-acceptance and this goal is the overall trap that Neelsie sets for himself. His desire for love and acceptance leads Neelsie fall in love with a girl who doesn‘t like him in return. A film audience can relate to this universal need. To make matters even worse, Frank comes into play and also desires the same goal. He also wants Suzette‘s approval, but he is much better at it and will defeat Neelsie hands down. Neelsie tries everything he can think, but the only thing that could really put Frank in his place is when Neelsie swims and beats him. This never happens as our protagonist is dealing with a ―Character Ghost‖, his fear of the water and his condition of Never-Nudism.

Comedic Narrative Beats By looking at the three biggest events in the plot structure, we can identify the conceptual relevance and central event problem of the narrative.

1. Lovers Found: The two main characters are presented and their love relationship begins. The first phase deals primarily with establishing that relationship. (Tobias, 1993) This phase can be found in the first explosion of the ETB. The two main charactersâ€&#x; love interest is established. Their relationships begin in ETB beat 6, the solution, but Neelsie messes it up and it leaves him in a lonely state of being namely; NPSPO (ETB beat 7)

2. Lovers Split: In the second dramatic phase, at least one of the separated lovers makes an attempt to find/rescue/reunite with the other lover. Usually the focus is on one of the lovers who must put forth all the effort while the other either waits patiently to be rescued or actively resists those efforts. (Tobias, 1993)

3. Lovers Reunited/Not Reunited: By the third dramatic phase, the active lover has found a way to overcome all the obstacles of the second dramatic phase. ETB beat 9; Climax consists of this phase. Neelsie tries to impress Suzette one last time, but he is confronted with a final setback where he fails again. This phase is conceptually relevant and the two lovers usually reunite at the end, but Tobias states that many love plots do have a sad ending.

Tobias:

Love stories don't need to have happy endings. If you try to force a happy ending on a love story that clearly doesn't deserve one, your audience will refuse it. Some of the world's best love stories (Anna Karenina, Madame Bovary, Heloise and Abelard) are very sad. (Tobias, 1993).

THE 3 ACT STRUCTURE/ Central event problem

In the section below I have briefly summarized the classic comedy conventions that all comedy‘s need to be successful. (Truby 2012)

1. Ghost Scene one: Neelsie‘s fear of Never-Nudism is made clear to the audience when he speaks to his swimmers on Wednesday afternoon, two days before the gala. The Jean Pant is something that Neelsie

2. Problem need Neelsie faces the gala. He is aware of the gala. He is aware of his Jean Pant and his need is an internal lack inside of him that is based on an essential weakness. This is his need for love and self-acceptance. It is hat Neelsie needs to learn in order to have a better life. (Truby 2012)

3. Inciting incident Neelsie meet‘s Suzette. It‘s an event from the outside to get Neelsie to come up with a goal to steer the story and our Hero in a particular direction. This moment gives Neelsie a false desire that the audience will identify with.

4. Desire Here we show his need for love and happiness in the form of a love relationship with Suzette, but this need is false and will inevitable cause Neelsie a lot of heartache. The audience expects this and we enhance it through subtext in dialogue.

Opponent

The next beat is when the protagonist gets an opponent, an antagonist. Neelsie faces Frank Hennop, the rugby coach. He is better than Neelsie in every way, except swimming. Neelsie knows this and Frank knows it too. They also know that Neelsie won‘t swim due to fear and humiliation. That‘s where Frank gets the upper hand.

6. Plan This is the plan during act two that Neelsie will use to defeat the antagonist. Neelsie will fail over and over again, trying to impress Suzette, but she gives all her attention to Frank. This the comedic structure into the next dramatic scene, where the protagonist and antagonist battle for the prize. 7. The Battle This is the final conflict where we find out that is going to reach the goal. Will Neelsie or Frank get Suzette? In this battle Neelsie undergoes changes and the intensity of this battle will lead to the next step, a selfrevelation.

8. Self-revelation Neelsie learns who he is, he learns how to act properly in the world, and he fulfills his need. Thus, the implicit promise is delivered. Neelsie didnâ€˜t get Suzette, but he got rid of his jean pant.

9. New equilibrium The new equilibrium leaves Neelsie on a higher level. He streaked naked through the school. He said what he needed to say to Frank and Suzette and he swam again.

Jean Pant follows a classic comedy structure that includes four opponents that constantly reduce him which ultimately pushes him to do the extreme and unexpected. He runs naked and conquers his fear when he jumps in the pool.

Scene by Scene: Event Narrative Below is a scene breakdown of the plot and how it progresses from ACT I to ACT III.

SCENE NUM & NAME

NARATIVE STRUCUTE

SCENE PURPOSE

1 - Wednesday Afternoon Training session

EPSPO & The Setup. Establish protagonist, mood & setting.

A Question is proposed: Do you have a girlfriend? Neelsie‘s flaw is established. The main event is proposed: The swimming gala.

2 - Thursday Morning at School

Establishment of Neelsie‘s average life. Thursday, a day before the Gala.

7 – Sad Montage

EPSPO & The Setup. Establishing his average school day, Neelsie‘s, progress the mood and setting to the school. Inciting Incident Wise old man and first comedic Childlike response Hero‘s first attempt leading to Plot point 1. Plot point 1. The story goes into a new direction. Neelsie can impress her during act 2 at the Gala. Fall Down

8 – Swimming lesson

Build up

9 – Netball Court

Neelsie Tries again, 2 nd Explosion

10 – Cricket Pavilion

Lowest Moment

11 – Streaking Montage

Denouement

12 – Swimming Pool

Neelsie faces his fears.

3 - Teacher‘s Lounge 4 – Cricket Pavilion 5 - Netball Court 6 – The Gala

Neelsie meets Suzette Wise old Man character helps Neelsie somehow. This is the first time Neelsie tries to impress Suzette, he fails This is the whole of act , Neelsie impresses her before the midpoint, but she loses interest soon after Neelsie confronts his fears on never nudism Neelsie gets hope from Elsa and tries again Final Denial , Neelsie gets defeated by the antagonist one last time Neelsie is at his lowest moment in the story. Neelsie streaks and runs with liberation He fulfills the character problem.

Scene by Scene: Character Narrative 1 - Wednesday Afternoon Training session Neelsie is kind towards the children, we show his character traits & we also show the narrative world we find Neelsie in. The main character response in this scene is just to show how Neelsie is around the children. He is kind and loving.

2 - Thursday Morning at School Subtle subtext of Neelsie‘s character is revealed. Loneliness and seclusion is focused on. A montage of Neelsie‘s average school day without Suzette (the inciting incident)

3 - Teacher‘s Lounge Antagonist gets involved and tramples Neelsie‘s agenda. Neelsie tries to impress Suzette, but fails when Frank enters their conversation. This conversation is used for plot exposition and the character flaw is focussed on.

4 – Cricket Pavilion Neelsie thinks, but there is someone near to help him, Bernadette. Neelsie thinks and we visually and audibly show this with Bernadette.

5 - Netball Court Neelsie goes back to try again and win the favour of Suzette with his vetkoeke. He speaks too fast and sets up his own problem; the teacher‘s race.

6 – The Gala Neelsie cannot cope with his past. He can‘t swim and doesn‘t know how to react to this when he sits with Suzette.

7 – Sad Montage This is an emotionally relevant scene that visually translates the main character problem. We show how Neelsie feels about his jean pant, a recurring mood piece of loneliness. We also focus on Frank and Suzette together at school.

8 – Swimming lesson Purest form of love is a theme. Elsa tells him to just be himself. Neelsie gets a sense of hope again.

9 – Netball Court Neelsie gets a panic attack and is humiliated on the netball court. Frank defeats Neelsie the final time. They all tease him about his vetkoeke and his jean pant. The character escapes the situation.

10 – Cricket Pavilion Bernadette gives him tough love. Neelsie reaches a character-revelation. Neelsie sits there alone, reflecting on the last few days.

11 – Streaking Montage He goes to Frank and tells him what he thinks of him, he goes to Suzette and tells her what he thinks of her and finally runs to the pool.

12 – Swimming Pool He faces his fear and character ―Ghost‖. Neelsie jumps into the pool and the film ends. This is an unexpected, but accepted ending. Neelsie grew incredibly from Act one until now.

Neelsieâ€™s Self-Revelation From Act I we establish this Omni-present group of cross country runners. They split each act and are transitional beats from Wednesday to Monday. Every time they run we will PAN and TILT down from a big notice board that reads an event specific slug line,

NOTICE BOARD On Cricket field where Cross country joggers train.

TRANSITIONAL SHOT: Omni-present runners that split each act.

Final Cricket Pavilion Sequence

PAN from Runners (Left to Right)

To reveal Neelsie, crying and alone

Neelsie‘s character revelation happens in the final beats before he decides to streak naked through the school. After the final battle with Frank, Neelsie returns to the cricket pavilion with a childlike comedic character response. Bernadette is also there and for the first time, they have an intimate conversation. Neelsie doesn‘t respond the way Bernadette wanted him to and she leaves with the final words.

Bernadette walks away, but stops and turns around.

BERNADETTE (CONT’D) Almal het issues man, Kom oor jouself(beat) of kry vir jou ‘n ander sad spot(beat)Die prefekte

BERNADETTE everyone has issues man. Get over yourself or find yourself another sad spot. The prefects are going to catch me.

gaan my vang.

The school bell rings and she leaves. Neelsie takes one last inhalation from his asthma pump. The cross country runners pass him. He stares at them for a while and then it hits him. Neelsie reaches a character revelation.

Neelsie’s character revelation: “I must run ! Run forrest Run! Run Fatboy Run ! Streak ! and do it naked!

Resolution & Resonance It doesn't seem fair, but an ineffective ending can invalidate, for a reader, an otherwise fine story. If the ending is bad, the whole story can become a letdown, even though the opening was involving and the middle was entirely satisfying while they were happening. (Dibell 1998)

RESOLUTION VERSUS RESONANCE (Kress 2003)

Short stories divide into two broad, overlapping categories: the traditional plotted story and what, for lack of a better name, we'll call the contemporary literary short story.

The traditional plotted story is easy to recognize. Its ending is like that of a novel: The plot complications are resolved, for better or worse, and the fates of all the major characters are made clear. When the story's over, there are no loose ends.

The ending of the contemporary literary short story, in contrast, may not seem to resolve anything, or to account for what happens to the characters. Indeed, people who don't like this type of writing often finish a contemporary literary short story and say, "But nothing happened." Or "There isn't any endingâ€” the story just stopped." Or even, "Am I missing the last page?" But the non-resolution of situation and plot is actually deliberate.

I don't mean to imply that traditional plotted stories don't raise questions or resonate in the mind. Good ones certainly do. Nor do I mean to imply that contemporary literary short stories are just a bunch of symbols stuck together, without a real ending. Good ones have endings as well-crafted as any traditional plotted story. But it's a different kind of ending, dependent more on symbol and nuance than on resolution. (Kress 2003)

What makes an ending resonate? There's no simple answer. What resonates for one reader may be uninteresting, boring or baffling to another.

A traditional plotted story signals from the beginning that it is plotted. There is a clearly delineated problem, a plot is unfolding, and characters are engaged in purposeful action or reaction. Readers easily pick up on these signals. They then expect a traditional resolutionâ€” that's part of the promise your story madeâ€”and will feel seriously cheated if they don't get it.

THE ENDING OF A TRADITIONAL PLOTTED STORY

It's similar to the ending of a novel, and the same requirements apply (see the last chapter). However, because a short story is briefer and contains fewer characters, the climax sometimes includes the denouement; that is, we find out during the climactic scene what happened to everybody who counts, and so the story ends. (Kress 2003)

At the end of any story, something must be different from the beginning. Something must have changed in a meaningful way. An important consideration in writing the ending to a traditional plotted story is that this change should be embodied in an action. It's not enough to just show that a character realizes something she didn't know before; she must do something about it, or at least must resolve to do something about it. Anything less doesn't provide enough closure for the traditional plotted story. (Kress 2003) Neelsieâ€˜s story is a traditional l plotted story. In the beginning he is a never-nude and in the end he is not. In the middle he is forced to face his never-nudism and by the end of plot point two his life changes dramatically because he could not face his character problem. The final climax and denouement is a combined act where Neelsie does not only reach a self-revelation, but he acts on it. Thus, the climax is shown in an action, and an inspiration liberating one at that.

Genre Comedy is a description of a sequence of events that reduce a character one or more times but not too much. One of the main questions in Comedy is.

How do you reduce or diminish a character? Comedy Fundamentals. There are three fundamental types of comedy types and it needs to be in the story level, scene level and line level.

1. Animal: Characters are doing the basic bodily functions. All bathroom humour or dirty jokes are animal comedies.

2. Child: Characters are reduced to inferiority. He reacts to a situation with more emotion than the situation requires. Like Ron Kimble in Hot Rod (Schaffer 2007) and like Neelsie in Jean Pant.

3. Machine: Character is acting like and object or a machine. He is reacting to the situation with less emotion than the situation requires.

The first Rule of comedy: The audience immediately needs to know who is reduces and how or the laughs will be less or not at all. (Truby 2012)

4 Point Opposition in Classic Comedy Genre

In a good comedy there are always four levels of opposition that confront the protagonist in the story. The first is he. Neelsie must deal with his character ghost, his jeanpant. The second is the lover, Neelsie must win the lover over, and He must get Suzette in the end. The third opponent is Frank. Frank is known as the Competing suitor, who also desires the same goal as the protagonist. Neelsie must defeat Frank in order to get his lover Suzette. The fourth opponent is the narrative world. Neelsie is an underappreciated teacher at Wellington Afrikaanse School. He is constantly reduced by the matric Netball team and rugby squad and this gives him all the more reason to streak in the end.

The Dialogue. Below is a brief script analysis of some dialogue lines from a few scenes. By taking a closer look at the dialogue in the context of a scene, we can identify the implicit promise and comedic structure in Neelsie and Frank‘s words. NEELSIE Are you excited for the Gala this friday champions? Neelsie is not excited for the gala. NEELSIE On your marks, get set.... Neelsie never ever says ―Go‖, until the end. ELSA Does mister have a Girlfriend? Character want proposition in scene 1. SUZETTE I like your whistle. are you a rugby guy? Suzette compares Neelsie with Rugby which he hates. BERNADETTE Everyone has issues man. Why do you think I wear these wristbands. does it look like im a fat emo lesbeen? (she is) Bernadette gives him tough love at the cricket pavilion. SUZETTE You males are all the same.

Neelsie fails to impress her at the gala.

10 most important points in writing a comedy script (Truby 2012) Below is 10 key‘s to creating a good comedy, by John Truby (Truby 2012). I have taken each key and applied it to Jean Pant.

1. Hero with a comic Gap We have Neelsie‘s struggle with Never-nudism.

2. Comic nightmare Neelsie‘s past and how the Never-nudism problem started years ago at the swimming pool. Thus his fear of swimming is his nightmare.

3. 4 point opposition Frank, Suzette, the Netball and rugby teams and little Francious. All of them are specific oppositions that reduce the character in different ways all relating to his character problem.

4. Steps of the classic structure. A classic 3 ACT and Comedy premise structure is followed. Neelsie goes from the ―Ghost‖ all the way through all the setbacks to ultimately reach the ―New Equilibrium‖.

5. Specific advice and character goal Neelsie gets his sense of hope from Elsa, his best swimmer. He gets tough love from Bernadette, the Emo on the pavilion. These two characters contrast each other with regards to life experiences at school and the modern ―high-school kid‘s idea of love and happiness. In the end, Neelsie makes up his own towards the universally relevant theme of love and self-acceptance.

6. Premise can develop. The storyâ€˜s main plot beat in ACT II is at the swimming gala. The most challenging place for Neelsie to be and a place where he will be year after year and this year things will change.

7. Joke The punch line of most jokes will be about the Jean Pant and it will be the last line delivered. This is a classic rule to good comedy.

8. Who is doing to be dropped or reduced in the gag It is very clear from ACT I all the way to the end of ACT III that Neelsie is constantly being reduced by Frank in front of Suzette. The two opponents battle it out until the end.

9. Reduce We are reducing Neelsie in the form of child comedy. This means that whatever happens in the scene, we have a childlike character response from Neelsie. These childlike responses happen at the cricket pavilion with Bernadette.

10. Express personal style. The last key to make good comedy is to create it from your own personal style of humour and I am experimenting with my own sense of comedic structure and character dialogue.

Translation style Lighting Style The lighting style used in Jean Pant will in direct connotation to the mood we aim to create with every character response. When Neelsie is in a happy state of being, we will use a bright cool red and light blue feel at the swimming pool. When he enters the school environment, we go onto a soft focus set-up to force every sceneâ€˜s attention onto Neelsieâ€˜s point of view.

When Neelsie is at the Gala, we want to focus on the warmth and Sunshine. Thus we are using a Dogma Styled approach.

Weather Conditions as Sub-Theme to character emotion. The lighting style will revolve around a certain mood we want to create in Neelsie‘s world. The story starts on a mild cool and dull Wednesday afternoon at about 15:00 pm. It moves onto Thursday‘s warm hotter with a light breeze. Light bright colours are used here. On Friday it‘s the hot and dry. The gala scene is set at about 12 O clock mid-day. When Neelsie retreats right before the teacher‘s race and hides behind the pavilion, the great pavilion shade casts a shadow over Neelsie and we use a much darker lighting set-up here. In Election, they used a very cold lighting setup to evoke a certain dramatic mood in the scene.

Election (Payne 1999)

A cold Monday Morning after Neelsie’s failed attempt to Impress Suzette.

After the gala on Friday, the scene transitions into a sad mood piece montage where we reveal Neelsie‘s ―childlike‖ emotional reaction to Suzette who is no longer interested in him and we also focus on his Nevernude issue and how it causes him heartache. Thus, a blue cold lighting set up and overall aesthetic is required.

Camera Style The shooting style of the film will be contrasting and high in visual dynamics in some scenes and affinitive with low visual dynamics in scenes with more emotional meaning and truth. The camera style will enhance the characterâ€˜s aspirations and challenged, but in scenes of deep character emotion, we will focus on a still calm camera presence.

We make the protagonist seem small and insecure with high angle sequences and slow tracking montages. With moments of realization we either move into the characterâ€˜s reaction or we let the character move with well-co-ordinated staging into the right framing to meet the required shot choice.

Editing Style In all scenes where Neelsie speaks to the children at the swimming pool, we are using a fast paced edit back and forth intercutting between those Neelsie speaks to. This enhances the humour of the film where the character response are quick and on the nose. Subjective MCU shots

Multiple camera Angle’s for conversation scenes Montage running sequence

Fast paced edit focussed on Neelsie’s responses

In every scene where Neelsie, Frank and Suzette are communicating, we have a fast paced edit, similar to the swimming pool scenes, but here we have a quirky style of acting which will make their character responses much more ―machine comedy‖ like which will slow the edit pace down.

In the scenes where Neelsie is in a more emotional state, right after he was reduced by Frank, we have a slower paced edit sequence. This happens every time he is with Bernadette. We give time for the characters to think and time for them to respond truthfully. The shooting style will be quite affinitive and simple with little camera movement, but a few specific scenes will have quite tricky editing combined with camera movement. Below is a mini-breakdown of a scene in Juno (Reitman 2007). We are using a similar style of shooting and editing when Frank bumps the vetkoek out of Neelsie‘s hands on the Netball court.

SHOT 1: TRACK & PAN around Neelsie when he hears Frank entering the netball court

SHOT 1: Frank bumps Neelsie, Vetkoeke fall to the ground, Track around as he kneels to pick it up.

SHOT 1: TILT UP as he looks at Frank going to Suzette

SHOT 2: PAN Left to Right with Frank;’s action as he enters

SHOT 2: Frank’s looks into camera - MCU

SHOT 2: Frank greets Suzette in a Medium Shot

End the sequence with Shot 1: Neelsie’s reaction when Frank hugs Suzette.

Art Department style We aim to create a very stylized simplistic affinitive visual structure to the overall aesthetic of the story. The narrative world will have an affinitive colour scheme combined with a great sense of realism in the weather and how it contributes to the character subtext in each scene. Costume and wardrobe will all add to the already existing colour pallet of the school and the gala event. Neelsie, Frank, Bernadette and Suzette are our four main characters and each of them will have an individualized look. Frank will wear a lot of Branded clothing as the ―stereotypical rugby jock‖ prides him in wearing braded clothing where Neelsie will wear dull mundane clothing but sense of fashion.

Weather Conditions as Sub-Theme to character emotion. As mentioned in the lighting style, we are using weather in Wellington as a tool to translate Neelsie‘s emotional journey in a cinematic language. Below are different weather patterns that influence the narrative‘s mood.

Sound and Music Style The overall music theme is to create a unifying score that is combined out of different South Africa artists. We aim to make a Jean Pant ―the movie‖ sound track. This way we will engage commercial Afrikaans Artists that our audience can relate too. On the other hand, if we do get signed off music from local artists from the required musical genres, we will use that as underlining subtext with regards to Neelsie‘s special skill and occupation.

What we aim to do: Neelsie‘s occupation is a Home Economics teacher, but if we get music sign off quick enough, we will change that to Neelsie, the music teacher. If we don‘t get the right music sign off we will do different takes of the same section of dialogue using all the artists we do desire. This way we can ensure that whatever music sign off we get directly relates to the music Neelsie likes. If this doesn‘t work out, we will use compose our own song that matches with the musical theme of the film.

For Example: In act one where Suzette, Frank and Neelsie are together, Neelsie asks Suzette to join him for an Arno Carstens concert. NEELSIE (whisper) Suzie. Ek het net gewonder of jy van Arno Carstens, hy speel. Frank tells him that him and Suzette are actually going ―Sakkie Sakkie‖ (Afrikaanse dance style) dancing that night. FRANK (O.S.) (loud) Sorry Boet, Ek en Suzette gaan langarm by Watergat na die Gala. In the second act, Neelsie tries to impress Suzette with his guitar skills and poetic lyrics, but she is not interested. She likes commercial music that Frank likes.

Neelsie starts strumming. It sounds terrible. NEELSIE (CONT’D) Baby little blue eyes is coming for you. Gonna leave her behind. NEELSIE (to Suzette) From the galaxies of blues. In the universe we choose. No more crying. In the end when Neelsie tells her to go to hell, he shouts that Arno Carstens is a poet and ―Sakkie Sakkie‖ dance music is bullshit. This is an underlining musical theme in the film we want to use to give the character even more fulfilment, NEELSIE (CONT’D) Arno Carstens is ‘n poet en Sakkie Sakkie boeredans is bullshit, en skaak is, is ,ag man skaak is vir gebreklike kinders.

Filmâ€˜s that do this:

Flight of the concords (TV Series) This TV series in New York became a cult hit in 2007. It is a musical kiwi buddy comedy about two struggling think artists trying to survive in the big apple.

This is a musical based story with different musical genres in each episode. Most of the time, the plot revolves around a love interest or some sort of character goal and at the end of act two there is always a character down fall in the form of a musical montage and Neelsieâ€˜s sad montage will relate to this kind of shooting style.

Acting Style The acting style is quite difficult to explain. John Truby refers to comedy in three fundamental types. (Truby 2012) Type one: Animal Comedy Bathroom humour, dirty comedy. (Euro Trip, Anchor-man) Type two: Child Comedy When the character response to Cause & Effect events in the script, he or she is almost childlike with over exaggerated emotion. (Hot Rod) Type three: machine comedy When a character response is almost the reverse of a Child Comedy; the character responds very lightly to massive plot events. (Henry Poole Is here.) Below are a few visual references to films that deal with the same ―Child Comedy‖ style we aim to achieve.

Can’t Hardly Wait (1998)

School For Scoundrels (2006)

Staging Actors I have referenced a few films with regards to certain moments in that film, that relate to Neelsie and his character response to narrative beats in the film. This is a comedy script and therefore we are focussing on how the camera can be a vital tool to make the genre come through. Not to say that we are using funny and impractical shot choices, but rather; to make the camera work with the emotion conveyed in the character. To do this effectively, a well-planned staging sequence must be put in place, even before the shot selection phase starts. I have cited the films Bad Teacher, Take me home tonight (Grace 2011) & Glee( TV Series). I am focussing on what the character‘s staging sequence is and how they used a cinematic language to convey his emotional responses.

JIB DOWN to Neelsie in the Teacher‘s lounge.

Suzette walks past him to the far corner, talking to teachers and standing around.

Neelsie cleans his mouth and makes himself neat

He looks back/ TRACK INTO his Face.

Neelsie walks to her but flinches. The camera starts in a MEDIUM SHOT and ends on a CU with Neelsie‘s reaction.

Neelsie tries to be cool.

Neelsie inhales from his asthma pump

Suzette greets someone and gestures that she is going to make herself a cup of coffee; she approaches the espresso machine, near Neelsie

Neelsie turns to the espresso machine and pours himself a cup of coffee.

Suzette Itâ€™s nicer with the milk in first.

Neelsie looks up and is surprised that she spoke to him. Neelsie plays it cool and tries to be someone he is not. Frank intervenes and reduces Neelsie, Neelsie Escapes the situation out of panic.

Neelsie is surprised when she speaks.

Neelsie tries to play it cool and collected.

By watching this film carefully, I have made some important choices regarding character staging before the shot selection started. This way the actor will be in control of the shot and because this is a character driven story, the performance is more important than anything, but by working out a perfect staging sequence, the camera style can enhance the actorâ€˜s performance.

Visual Environment: Production Design A romantic red will be the primary colour throughout the overall film aesthetic. Below is a collage from the American cult musical TV series GLEE which is a very clear example of what we aim to achieve.

Foreground Middle Ground Background: REDâ€™s

Visual romantic red scheme

Sad Colder Feel at the end of ACT II

Costume Design Matches Colour Scheme in Exteriors

We do not have a lot of interior locations, but those we have will give a sense of a mundane country side small town to the overall narrative world.

Aural Acoustic Environment Musical Unity and Sub-themes. The music of the film will be chosen with a much more commercial approach. We will use a uplifting lighthearted score in combination with commercial names like, Fokofpolisiekar, Aking, Lianie May, Bobby van Jaarsveld, Robbie Wessels and Gerhard Steyn. These are South African artists from different or some might argue, opposing genres that will grip and audience to fully relate to the conflicting subcultures in the film. Neelsieâ€™s musical taste [individuality]

Frankâ€™s musical taste [Commercialism]

Neelsie the anti-jock musical genius, home Economics teacher and part time swimming instructor. VERSUS Frank Hennop, the full on jock douchebag know it all macho rugby coach. A fan of commercial Afrikaans dance music and a big time bully.

Other acoustic themes of the film include, asthma, school bells, tranquillity and stillness, musical montages, inspirational climax symphony and a dry dull mundane audible feel in the narrative world where there are almost no traffic and the whole town is still and motionless.

Asthma One of Neelsiesâ€˜s main character traits is that he suffers from mild asthma attacks from time to time. This usually happens when he is under pressure and stressed out about something. In the story he uses the pump quite a few times, which also works great for a sound transition.

School Bells School bells serve a very important transitional sound device to cinematically go from one scene to another. It also ends scenes with the sense of realism. This happens every time Neelsie and Bernadette meet. The school bell ends the scene.

Whistle Neelsie has a red whistle which he blows at his swimming sessions with the children. Suzette has a whistle when she is on the netball court. Frank has one when he trains his rugby team and Meneer Janse has a whistle at the gala. These whistles also serve as a transitional element to end scenes, especially dialogue scenes and event narrative moments at the gala. Each character will have a different colour whistle to add to the aesthetic style of the production.

Stillness A few sections in the film rely on stillness and a sense of peacefulness when Neelsie is alone on the pavilion and when he finally goes back to the swimming pool to confront his fears and dive in.

Cast of Characters Protagonist/Male Love interest Neelsie van Niererk Neelsie van Niekerk is our central and active protagonist. He is a home economics teacher and part-time swimming instructor at Wellington Afrikanse Skool that struggles with the condition of Never-Nudism, He falls in love with Suzette Allerman, the new Netball teacher, but fails to get her approval due to a very popular rugby coach, Frank Hennop.

Female Love interest Suzette Allerman She is our central female love interest. She is a new teacher at Wellington Afrikanse Skool and doesn‘t know anything about the school‘s past. She‘s a vixen that likes to play intellectual games with men. Suzette likes Neelsie at first but her interest fades when Neelsie doesn‘t impress her at the swimming gala and she ends up with Frank Hennop

Antagonist Frank Hennop Frank Hennop, a 26 year old rugby coach and sex education teacher at Wellington Afrikaanse School. He has been reducing the protagonist for years and is seen as the antagonist in Neelsie‘s story. Frank gets the girl and humilaliates Neelsie at the Netball court, time and time again.

Nememis Francious Little Francious is a younger version of Frank. They share the same stereotypical character traits. Francious makes Noel‘s life hard, just like Frank makes Neelsie‘s life a nightmare.

Underdog Noel Noel is a visual representation of a younger Neelsie. Noel looks up to him and Neelsie can see himself in Noel. He tries to teach him the right ways. Noel and Francious battle it out while Frank and Neelsie battle for Suzette. In the end, Neelsie learns a valuable lesson from Noel, where he decides to act and show Suzette that he truly loves her.

Support System Elsa Elsa is Neelsieâ€˜s best friend and most favourite person in the world. She is the purest form of love and resembles hope. Every time she is present in a scene, she builds him and tells him to try again. She convinces him that love conquers all every time they are together.

Wise Old Man Bernadette Bernadette Britz is a 17 year old girl who sits on the cricket pavilion and smokes at break time. She doesnâ€˜t have any friends and resembles the only character that Neelsie can relate too on a much more personal and emotional level.

Featured Extras

Two Matric Girls The two matric are the nemesis of Bernadette. They play a smaller role in the story that is ultimately fulfilled at the liberation nude streaking.

Meneer Janse Meneer Janse serves as a very important sound transition character. Neelsie and Suzette refer to him throughout the film. He is a flat comedic character and a useful tool in the cutting room

The Protagonist Name: Neelsie van Niekerk Fullnames: Kornelius Hendrikus Frederikus Arnoldus Van Niekerk Nicknames: Neels, Neelsman, Van Niekerk, Meneer Neelsie, Meneer Vetkoek D.O.B: 23 January 1985 Occupation: Home Economics and swimming coach for primary school children aged 6-13. Character’s Underlining Theme: Neelsie, our central character, has strong connotation with a very stereotypical Afrikaans subculture. He is misunderstood and like most South African men, he is still discovering who he is and in this story he discovers how to be himself, and not conform to the societal norms of the modern Afrikaans Subculture. Thus, the underlining message of our protagonist is; ―Just be yourself‖ Self-Acceptance will never truly happen when impersonating someone else.

Fatal Flaw: He suffers from the phobia of Never-nudism. Conscious goal: To impress Suzette with his swimming Vetkoek recipe. Special Skill: Master Chef. Support System: Elsa and Noel. Place of Comfort: The swimming pool Place of Comfort when at School: The Cricket Pavilion. Inner need: To find love and acceptance. Dominant, core trait: He is a kindhearted loving and caring teacher. This is established in ACT 1 with the swimming lesson.

Other good & bad traits: He is persistent, easily offended and meek. Neelsie is stubborn but kind and idiotically emotionally expressive, but truthful at all times when in his comfort zone. Imperfections, quirks: He speaks before he thinks. He can‘t read certain situations that well and he often embarrasses himself in front of children, but this is something he is comfortable with.

Full Back Story: Neelsie was born in and bread in Wellington. He went to the one and only school namely; Wellington Afrikanse Skool. His father Frederikus van Niekerk, was the first team rugby captain before he was born and his grandfather Arnoldus van Niekerk was the school principal. His mother drowned in 1990 when they went to Amanzimtotie for a family vacation. Neelsie grew up and started swimming professionally. It went downhill when a chess misfit redheaded girl broke his heart. After school he became the swimming instructor and through experiencing a lot of boredom in dry old Wellington, started playing his deceased mother‘s guitar.

Character Want and Outer Motivation: Neelsie wants the girl. He wants to end up with his lover, Suzette. His attempts are thwarted in the beginning, but later on he succeeds. The antagonist then gives him greater setback, which he attempts to overcome and find love, but he does not defeat the antagonist in the end. To analyses the protagonists personality type further, I did the DISC analysis on him. It consists of different sections of questions concerning four different categories of the mind namely; Directive/Dominant (D), Intuitive/Interactive/Inspiring (I), Cautious/Contentious(C) and Steadfast/Supportive(S). These four categories are split into a task orientated or people orientated and fast paced or slow paced personality type. His greatest strengths are: fun loving, emotional and optimistic and an enthusiastic communicator. His natural limitations are: Indecisive, over accommodating, too passive and sensitive. His communication skills are: Empathetic and a good listener. His basic fears: loss of stability, loss of social approval. Love Language: The need for acceptance and approval. When under pressure: He is attacked emotionally and avoids public confrontation. Character Need and Inner Motivation: To understand our protagonist‘s goals, desires, human nature, universal truths, ethical values and personal development, I use the Enneagram to categorize the protagonist. His basic fears are being unwanted and unworthy of being loved. His basic desire is to feel loved. Neelsie is a caring and loving person. He is at his best state and is humble and unselfish. This character is at a healthy level, but he will develop into average state of being where he is depressed and alone in the end. By looking at the South African Afrikaner sub-culture, we can identify Neelsie‘s character type amongst them. This relates to the specific relevance that the character has with its target audience. His needs and goals also relate to the timeless generally relevant themes of Procreation: Love. Neelsie‘s character type embodies the narrative‘s general and specific relevance.

Skills, knowledge, props: Neelsie romantic poet and real charmer. This is not part of the main plotline, but it serves a very specific purpose with the contrast between Masculinity and Femininity in the Traditional South African Afrikaans Subculture. The musical theme of Commerciality and Alternative Afrikaans music is has strong connotation with the comedy genre of the film.

Point of view, attitudes: Neelsie is like most South African Afrikaans suburban 25 year old men. He thinks that only by impressing with his masculinity will he get love and acceptance. He tries to impress Suzette with his macho manly words, which isn‘t really who he is. Only by changing his perception of himself and doing introspection on his very personal problem, his Never-nudism, will his attitude on love and happiness be honest and truthful and this will lead him to fulfill the plot. He gets rid of his never nudist problem, but doesn‘t get the girl.

Dialogue style: Neelsie is 25 years old and his Afrikaans dialect is quite clean and traditional although it sounds a bit modernized with an informal Afrikaans vocabulary. He speaks truthfully when with the swimming children, but has an over confident exaggerated hyper realistic way of speaking to Suzette when he tries to impress her.

Physiology: Neelsie is a tall skinny black haired man at age 25 with rough beard and strong sex appeal. His voice carries power and his speech is clear. Neelsie‘s has a very unique posture as he had back problems as a child, which led him to swimming and art, instead of rugby and other contact sports at school. He struggles with his breathing and has asthma. Neelsie is never without his asthma pump.

Psychology: Neelsie is a very introverted person, but he is not a mute. He will speak his mind, often too soon, but whatever comes out of his mouth sounds kind and truthful and real, Suzette picks up on his way of communication and she likes it. Neelsie‘s goal is to impress Suzette and he does so when he is himself. Every other time they speak, Neelsie seems to be hyper realistic with what he says and does. Neelsie is tall and skinny and this makes him feel quite inferior to a macho muscular Frank Hennop. Thus, Neelsie will often look at the external make-up of people around him. Neelsie is a very complex character and although some of the reasons why he does what he does is not explained and expected by those around him, including the audience member, it is definitely accepted. We all want Neelsie to take off his pants and just run and never stop. This is exactly what he does. Catalyst: This is a simple love plot structured story and the catalyst is Elsa, one of Neelsie‘s best swimmers and caring learners. She gives Neelsie a sense of hope and encouragement, maybe a little too much at times, but her open and unquenched perspective of love is exactly what Neelsie needs to hear in order to swim again. Big Event: We establish the annual swimming gala teacher‘s race event in ACT 2. Neelsie hasn‘t competed in this in previous years due to his accident. He lost his speedo in a race in previous years of the event.

Crisis: This happens at the swimming pool. Neelsie fails to impress Suzette. Showdown: Neelsie needs to swim the annual Teacher‘s race, but he doesn‘t. He sits on the side like every year and he doesn‘t impress Suzette.

Realization: Neelsie realizes what he must do when sitting on the pavilion with Bernadette. She tells him the truth. She represents the cold hard truth that our character must learn to grow.

Denouement: Neelsie swims naked. The love plot is not fulfilled, Ne didn‘t get Suzette in the end, but the implicit promise is delivered: Neelsie overcame his hear and swam again.

Relationship with others: Neelsie forms relationships with most characters in the story. Below is a brief description of his relations and the underlining theme it represents.

Character Relations Neelsie and Frank

Neelsie and Suzette

Relationship Status

Underlining Theme

Frank has an authority status over Neelsie. He is the stereotypical masculine figure that belittles Neelsie as much as he can. Suzette and Neelsie develop a subtle romantic relationship, but Neelsie fails to pull through and whatever blossoming moments they have in ACT 2, dies out with Neelsie‘s character flaw and false goal.

Masculinity over Femininity. False perception of Love versus self-acceptance and truthfulness.

Neelsie and Nico

Nico is a delightful boy, although He sometimes asks silly questions and speaks before thinking. At age 10, he is open and honest with no underlining hidden agendas.

Neelsie and Elsa

Neelsie and Elsa share an intimate understanding of one another‘s emotional needs. Elsa wants Neelsie to find love and Neelsie helps her find her own lover in the end. Bernadette and Neelsie share a very relaxed relationship. Bernadette, the Emo smoker and social outcast, gives Neelsie valuable advice

Neelsie and Bernadette

Humoristic false perceptions from Neelsie towards an increasing sexual tension between Neelsie and Suzette. Implicit promise carries though with their relationship – Stay true to yourself, don‘t‘ try to impersonate someone else. He points out Neelsie‘s Flaw with regards to his femininity and his fatal flaw – His Jean Pant. He is a representation of a sexual masculinity in the Modern Afrikaans Subculture Elsa depicts the most honest, loving truthful open and sharing kind of love that we all want. She is a representation of the female inner desire towards love and heterosexual- relationships. Just like Neelsie, she is also misunderstood by her classmates. She tells Neelsie the cold hard truth and she represents ―the honest opinion from the audience‖. She tells Neelsie what the viewer wants to tell him.

The Antagonist Name: Frank Hennop Nick name: Meneer Hennop, Hennop Comedic character type: Know-it-all character. Occupation: Rugby Coach and sex education teacher. Conscious goal: To have power and authority over Neelsie and win Suzette over. Special Skill: Rugby, masculinity and charisma. Dominant, core trait: He is sly and rude and over confident. Suzette is the first opponent and passive protagonist. Frank Hennop is the second opponent and Neelsie‘s primary threat. Frank was also analyzed according to the DISC analysis and this is a summary of her results. These results represent his personality type, social norms, human nature, universal truths and personal development. Frank‘s basic tendencies are; Faced-paced and task orientated. His greatest strengths are; selfconfident and independent. He can be harsh or impatient sometimes and has a very direct way of communicating. Frank is the one who creates obstacles and setbacks for Neelsie.

Tobias states: ―Love that hasn't been tested isn't true love. Love must be proved, generally through hardship.‖ By looking at this statement we can see that our antagonist‘s purpose is to create the hardship for Neelsie. There is a consistent battle between the protagonist and antagonist to impress the girl. Every time Frank and Suzette communicate with Neelsie, Frank defeats him. Neelsie tries to impress her with romantic acts, but even that doesn‘t work. The antagonist represents the “Alpha Male, Maxi-man” character. Neelsie is the opposite of Frank. He is kind and thoughtful and in the story Neelsie is confronted by Frank every time they are together.

Castings Actors In my casting process, I have chosen the actors according to a very specific subculture that they all embody from their high school days. Armand Greyling was chosen to play the role of Neelsie van Niekerk. Roland Reed was chosen to play Frank Hennop and Ludri-kay Strohfeldt was chosen to play the role of Suzette Allerman. Bernadette Britzâ€˜s role will be played by Thanjia van Deventer. All the actors suit their roles perfectly, but we are making a great deal of changes to make them look older and to embody their character within them.

Neelsie van Niekerk

Armand Greyling

Cast conclusion Armand is perfect for the role. We are going to trim his hair and give him neat scruffy beard. He will wear spectacles and have a asthma pump with him at all times.

Frank Hennop

Roland Reed

Cast conclusion To make Roland more threatening and superior, we are going to give him a thick moustache; his wardrobe will consist of sportswear and branded clothing. His hair will be trimmed and he will wear a cap most of the time, to shadow his eyes.

Suzette Allerman

Ludri-Kay Strohfeldt.

Cast conclusion Ludri is short and sweet and that‘s exactly what I aim to translate in Suzette. Lurdi‘s hair will be simple and sexy. She is not a diva and will wear earthy but daring colours. She likes dark sun glasses and a red lipstick from time to time.

Bernadette Britz

Thanjia van Deventer

Cast conclusion Bernadette will be played by Thania van Deventer and we will use her red hair to enhance the character. Just like the character ―Amy Squirel‖ in Bad Teacher. Bernadette will have a dull acting, almost machine like presence when she speaks to Neelsie at the cricket pavilion.

Dramatic Atmosphere The story starts at the swimming pool and the story ends at the swimming pool. These are the two main scenes that I am going to analyse with regards to poetic amplification.

EXT. SWIMMING POOL - DAY It's 3 O clock Wednesday afternoon and NEELSIE VAN NIEKERK,(25 the skinniest guy you ever saw) sits on the pavilion with his a large gym bag next to him and a small guitar in hand. His hair is wet and stupid looking. In this scene we show that Neelsieâ€˜s hair is wet. We show a wet towel and we show a wet swimming pool pavement. This is subtext that Neelsie swam in the start of the film. It sets up the promise and tells the audience that Neelsie can swim and he does swim, but heâ€˜s too shy to do it in front of anyone else, even his little swim stars.

EXT. SWIMMING POOL - MONDAY - AFTERNOON A naked Neelsie dashes into frame and stops behind diving block 4. For a moment he does nothing but stand there, embracing the stillness. He climbs onto the diving block and stares at the water. Neelsie looks up at Bernadette who stands at the other side of the pool. He smiles and puts the goggles and gets into position. NEELSIE (to himself) Op julle merke, gereed.

This is the last scene and in the last few shots, Neelsie is gets on the diving block. He gets in position and delivers the lines, but he never says go and we never see him jump. We cut to black just before he jumps. Most audience members might argue that this cheats them, but Neelsie fulfilled the implicit promise of the story. He took off his jeanpant and he accepted himself for who he is. We did promise that Neelsie will swim, but to not show the actual event would resonate longer within a film audience.

Color Pallete We are going for a rich romantic red color scheme that evokes feelings of love and romance. ―Research indicates that rose is a color that inspires romance. Actually, it is more like a color of a memory of a romance.‖ (Belantoni, 2005, pp.38-39)

The medium will consist of a general affinitive visual structure. This will consist of affinitive use of: space, line, shape, tone, hue and saturation, movement, camera movement, rhythm and composition. When Neelsie is with Bernadette, we are increasing visual dynamics and move onto contrasting visual structure.

The narrative world will be created with a very simplistic feel. A small town like Wellington doesn‘t have what the big city has. The citizens there have never even been to the big city. They don‘t know it and it doesn‘t know them. Neelsie is in a world where a catastrophic event like streaking naked would put Wellington on the world map or on the tabloids. Meneer lyk soos ‘n stokkie

Kom kom kom, alle grappies op n stokkie

Rugby is nie als nie Francious

Production Design & CMS Requirements Scene Swimming Pool

Rugby Field

Teacherâ€˜s Lounge

PD Requirements

CMS Requirements

Action & Shooting Requirements

Tracking Vehicles This film does not require a lot of expensive Special FX or Visual FX. It does however need a tracking vehicle to shoot the running sequences.

The film will be shot on the Red* One digital camera and the title sequence shots with a SR Arri 16mm Film camera to give a vintage feel to the narrative world.

Slow Motion running sequences: We will shoot some of the running sequences in 35 fps to give a hyperrealistic feel to the streaking montage, to engage the audience with Neelsieâ€˜s sense of freedom and liberation.

Prose Writing Implicit promise: To just be yourself; Self-Acceptance will never truly happen when impersonating someone else. It‘s Wednesday afternoon and Neelsie van Nierkerk trains his little swim stars. We are exposed to a few things missing and problematic in Neelsie‘s life. The training session moves into a musical montage and we end up in the teacher‘s lounge 11 O‘ Clock Thursday morning where Neelsie sees the new netball teacher for the first time.

Neelsie is in and tries to impress her. They meet and Suzette likes him. Neelsie is a funny guy and they relate, but soon Frank Hennop intervenes with his cocky macho presence and he takes over the conversation. Neelsie ends up alone as they leave the room. Then Neelsie retreats to his place of mourning, the cricket pavilion where he overthinks the situation. Bernadette Britz an emo-goth-misfit gives him some tough love. That afternoon at about 3 O‘ Clock, Neelsie goes to the Netball court to impress Suzette with his vetkoeke, but he fails as Frank enters the court, dripping in sweat and masculinity from his rugby practice. Suzette leaves the two men for a moment and Neelsie decides to step up and challenge Frank. He decides to swim the race. In act two we move onto the gala event. It‘s Friday morning. Neelsie meets up with Suzette again and it goes well for him but the teacher‘s race is about to start and Neelsie must face his fears. He doesn‘t fails to impress Suzette. She loses interest in him and starts dating Frank.

Neelsie gets another life lesson from his swimmers the following Monday morning where he decides to give love one last chance, only to be brutally reduced by Frank on the Netball court. Neelsie is depressed and humiliated and retreats to the cricket pavilion, where Bernadette gives him tough love again, but this time she doesn‘t hold back.

Neelsie reaches a character revelation when a group of joggers pass him and decides to do the unexpected. He streaks in the nude through the school and tells everyone what he thinks of them. He tells Suzette, Frank and the Netball team to go to hell. Neelsie runs back to the pool and gets on diving block 4, where he jumps into the swimming pool and conquers his character ghost.

Image Systems The three acts will be divided with a group of joggers running around the track each school morning. This is a visual metaphor and a sub visual theme that relates to Neelsie‘s running sequence.

Deep space will be used when we show our protagonist in moments of inferiority. When he drives into the school yard and when he walks through the corridors to his class.

We are using Aerial Diffusion when Neelsie is in a state of sadness. This removes focus from the far ground and creates an ambiguous perspective to the living dynamic

Aerial Diffusion Aerial diffusion depends on particles in the air. These particles can be dust, fog, rain, smog, smoke, or anything suspended in the air that obscures the view of the BG. Aerial diffusion causes three visual changes in a picture that create the illusion of depth. The aerial diffusion causes a loss in detail and texture, it lowers the picture‘s tonal contrast, and it changes the color of objects to the color of the aerial diffusion itself.

Focus Once any object is out of focus, it becomes flat. It doesn‘t matter if the object is in the FG, MG, or BG, it flattens when it becomes blurred. Blurred objects appear flat regardless of the depth cues they contain. FG, MG, and BG objects will often blend into one flat plane when they are out of focus. Occasionally, the out-of-focus plane will read as a flat BG plane.

Final Words Jean Pant is definitely capable of being made on student level. As this is our graduate project, we are fully committed to the project in order to make it a successful short film. The concept is simple and absolutely plausible with regards to concept, location, cast, plot, themes, music, relevance to film history and the South African target audience. This film is a ―Traditional plotted story‖. It is told in three acts and has a final character fulfilment. Then the story ends. It is not a ―Contemporary literary story‖, which leaves the audience with resonance; instead this film will leave the audience with a narrative fictional resolution.

The film meets the boundaries set by AFDA on a producing point of view. It complies with the genre and plot conventions and delivers emotional fulfilment. The story is visually aesthetic with thorough research on film history and cinematic composition and audible unity. Although the story is dialogue driven, it is visually expressed in the montages which in turn are engaging on a character driven emotional level. We accommodate the Undergraduate AFDA acting class with four lead roles. Three are four lead roles and one supporting role which requires extensive research and acting ability from the cast.

Jeanpant is a character driven comedy focused on an intense Cause & Effect pattern with a structured comedic genre and very clear South African relevant target audience which most of the comedy originates from. Our ultimate goal in the film is to expose Neelsie van Niekerk‘s character to the audience and to make his decision to streak nude in act 3, a very plausible and accepted character transforming moment. The audience will be inspired, liberated and have a great sense of escapism in the 12-15 minutes they sat in the cinema.

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