Evaluation: Final Film Project

The Girl from Galveston

Daniella Casey
Appendix 1 Post-production Feedback Survey at Pre-Screening
Stage (from the original Pre-production Focus Group)

How well do you think you have done? Based on feedback from
peers and teachers over the course of the unit do you believe you
have successfully fulfilled the required brief?

Throughout the course of this subject, I have learned to develop my technical skills. For
example: In the editing process I have independently learned new creative skills I will be
able to use in my future productions. This includes split screens, montages, colour grading,
moving still images and the process of animating photos, the correct audio levels, fading the
sound in and out at the correct time.

I am very pleased with how far I have come from, as at the very beginning of the course I
was not confident in editing and I have been able to learn independently. Through editing I
have been able to build a narrative. My final major Project was quite a big production and I
stepped outside my comfort zone and set myself this challenge in which I enjoyed very
much. I put together quite a big production and was disciplined with the edits by
understanding what section Myrtles was talking about and how its purpose and
involvement in the story. Myrtle is an amazing talker and everything she said was relevant
however I was able to condense it, which turned into a love story.

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Organisation is a key element I have improved on and I have developed over the course of
two years, I am able to use my time appropriately and effectively. This is a very important
skill to have in the future as I will not waste time in my productions, and I can use my time
to benefit me with any future deadlines I have. My Questioning skills have worked very well
within my production as I was able to gain this very important information from Myrtle in
the interview that has allowed to create a strong narrative and supports the structure of my
documentary. Therefore, the questions were successful with the outcome of my production.

I have learned to Work with others of all ages. Working with older people is quite different
to as if I were working with people my age, this was a challenge I have learned to adapt to,
and l know the importance of communication when working in a film production and its
very important to get along with everyone on set. Especially in a documentary it is key for
your interviewee to feel comfortable in the interview and you will be able to find out more
information they are willing to share this way, improving the documentary. Working with
older people its significant that you should not push them, and patience is important as they
are taking time out of their possibly busy lives so as a documentarian, I need to convince
them why they should be a part of my documentary.

My Research skills have progressed greatly through the course, at the very start of studying
creative media production my main weakness was my research. I did not know how to
properly analyse a production and it was quite poor and not detailed enough. However, I
progressed in my research I’m not able to effectively analyse documentaries and clips
through a detailed analysis. My production was quite a challenging topic as I had to find out
about the history of my topic and the different, core time periods that Myrtle has lived
through to understand the context.

I was able to understand how to pick out key information to direct it towards my narrative
and the story I want to tell. I had to research into the music, I understood from my young
target audience in my focus groups and surveys that they wanted to see music from
different time periods and that relate to the culture of each section I focus on. This wasn’t
easy at the start because the music choices is likely to change after seeing my production.
After viewing my production, It was something after I knew I need to change, I was able to
capture the culture of Ireland and Texas as well as giving off a strong emotional tone in the
introduction. The music in the end credits I was able to give a personal touch to the choice,
a Bing Crosby song as I knew from the interview that was Myrtles favourite singer and it was
upbeat. The music choices helped the story come together.

I am very proud of the production and positive that I have successfully fulfilled the brief (as
referenced above). The post-production feedback (from page 3 to page 5) from my original
focus group, the general public on social media and my subject (Myrtle) provides compelling
support for the delivery of a successful creative media production project.

I have thoroughly enjoyed the entire creative media production process on this project from
the inception right through to post-production. It has been a challenging and rewarding
experience and I feel that I have learned a lot about myself as a person, developed greater
confidence in the creative production process and acquired new filmmaking skills along the
way.

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The concept behind ‘The Girl from Galveston’ was to produce a documentary film about the
extraordinary lives of ordinary women. With this underlying theme, I began my topic research
seeking out interesting stories that may not have been told or might be told from a different
perspective. Recent headline stories such as the ‘Me Too’ movement and well-known
contemporary figures like Greta Thunberg’s environmental activism triggered my interest in
stories about celebrating womanhood rather than just another story about feminism.

Over the last two years of my studies one of the biggest learning points has been the
importance of telling stories that interest me and even more so where I have an emotional
connection to the story. My great grand-father and his brothers were established names in
the rowing and wrestling worlds during the 1930’s and 1940s. I had heard a lot about them
growing up but less so about the women in their lives. I was curious to find out more. I
discovered during the research phase of this production that there was one last surviving
member of that generation, Myrtle Casey still living at 99 years of age in Galveston, Texas in
the United States of America.

I also had a curiosity about the lost children of Ireland following a viewing of the movie
Philomena a story about single mothers in Ireland being sent to work-houses under the
supervision of Catholic nuns with their children being adopted by wealthy American families
often without their mothers permission or consent being given under duress.

I conducted some preliminary desk-based research and a focus group survey to help
determine which theme to pursue; and the story about Myrtle Casey was the preferred
option. I was very proud during the pre-production phase of my proposal presentation pitch
to my peers. I put a lot of preparation and planning into the presentation content including
building the evidence-based arguments to justify my proposed production; and I thoroughly
rehearsed my presentation until I felt confident and ready. I felt it went well and that I was
able to answer the questions from my peers with confidence.

I realised early on in this project how important collaboration is in the creative production
process so as I started to frame the storyboard, I often consulted my peers at college, family
members and my teacher. I was also fortunate enough to have attended a BFI Film Academy
course at the start of 2021 and retained a link with the alumini (fellow young filmmakers)
from the programme whom I have often referred to for sharing ideas and bouncing off
problems with during this production.

The continuous collaboration and dialogue with my peers and teachers have been a constant
during the production of ‘The Girl from Galveston’ and this has underpinned the creative
process which I have come to realise is an iterative process and that my starting point and
end-point will have evolved/developed/been shaped by the inputs from co-collaborators
along the way.

In addition to good quality research, sourcing a story with an emotional connection and the
continuous collaboration & dialogue throughout the creative production process, I have also
recognised the critical importance of good planning and preparation. I have maintained a
structured and disciplined approach to my preparations ensuring that at each stage of the
process I have kept on track. The weekly blogging/diary reviews have helped me check-in on
a regular basis to make sure that I delivered on each pre-planned milestones. I am pleased to
report that with this approach the production process went very smoothly.
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I did have one challenge during the early stages of the production process when my subject
(Myrtle Casey) had a change of heart and felt that she could not support the project due to
limited time and resources brought about by the pandemic. I recognised the importance of
having a contingency plan which put my problem-solving skills to the test. I was able to
persuade Myrtle of an alternate filming method which did not involve additional cameras
being set up in her premises (due to Covid restrictions and the limitations of distance – I was
in England, Myrtle in America). I came up with a valid and creative solution using Zoom, voice-
overs, b-roll and a piece to camera to help deliver the production.
In terms of post-production feedback and evaluation, I obtained three sets of feedback to
provide a more validated perspective and thereby helping to ensure a more unbiased
response.

I initially carried out an evaluation survey with my original pre-production focus group as part
of the preview process (see extract of the survey findings below ‘Post-production Feedback
Survey’ in Appendix 1 on page 17). I wanted to get instant snapshot feedback on the positives
and potential areas of refinement in the production before publishing it on my YouTube
channel.

The feedback was very positive with many respondents agreeing that it was well produced to
a high standard and looked very professional. I was also very pleased that many respondents
enjoyed the use of archive footage and b-roll throughout the film.

“The story is put together well and the music really brings emotion
to the story. It’s very engaging and the archive footage fits well. Your
piece to camera helps bring the personal connection to the story”

The feedback helped identify a few minor elements to review such as image selection and
sequencing in the story; and an observation of adjusting the timing between an image
appearing on screen and the voice-over narrative. These were subtle aspects of refinement
that were very helpfully picked up in this post-production review.

Feedback from Myrtle Casey the subject of the film following a

private screening (by email on the 14th May)

The ultimate test of whether my production has achieved its objective and the most
rewarding is the feedback from the subject on whom the film has been based.

I was overjoyed to have received the two emails below from Myrtle on Friday, 14th May with
her first hand experience of the documentary.

I was just proud to have been able to do the story of Myrtle’s amazing life justice and to
capture this on film.

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“You did great. Jim would be so proud”

“What an outstanding story you have put together”

“You have saved a lot of history with this piece”

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Finally, I was able to pick up snapshot feedback on social media (see below) from people who
saw the film following it been circulated on Facebook on Saturday, 15 th May in America. It
was great to see this immediate reaction to the film.

This is so amazing! I totally enjoyed it!

Wow! Wow! Wow! Love this!
A great film and a great lady!

Snapshot of comments in response to the release of the film

documentary on Facebook (15th May with 380 viewings from 15 to
18th May)

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Do you believe you followed the guidelines of the competition well

My chosen Film Festival is the Aesthetica Short Film Festival which will take place on the 2-30
November 2021 in York, UK. It is a prestigious short film festival and I am very excited to
submit my film into the competition.
From the outset of my production, I have made sure that I have followed the competition
submission rules and Henley College rules and regulations (referenced below with a
confirmation tick against each criterion). As part of my planning and preparation, I factored
the guidelines into my production framework to make sure that at each step of the
development process, I was on track to meet the requirements.
My documentary short is 15 minutes and 44 seconds duration and was finished and
uploaded on the 13th of May 2021.

(1) Henley College Rules & Regulations

✓ All practical work must be my own

✓ No reference to drugs, swearing or nudity

✓ No footage can be used from previous projects

✓ Only 10% of my production can be found footage(downloaded)

✓ All written work must be my own, any sourced work must be Harvard referenced.

✓ Work submitted must follow brief

(2) Aesthetica Short Film Festival (ASFF 2-30 November 2021, York, UK) Submission Rules:

✓ Short films should have a maximum running time of 30 minutes.

✓ Please provide a downloadable link to your project as an mp4 file

✓ All films in languages other than English must have burnt in subtitles.

✓ There is no premiere requirement. We will accept submissions of films that have previously screened elsewhere, including at
other festivals.

✓ Films completed in the past 2 years are preferred.

✓ Only submissions through Filmfreeway will be considered.

✓ Your entry form must include your name, address, telephone number and email so that we can contact you.

✓ Your film must not be in breach of any copyright, including music or sound used in your film.

How well do you believe your production followed the conventions

of your genre/style

My production ‘The Girl from Galveston’ would be classified as a biographical reflective

style documentary short as the subject is about the life of one person Myrtle Casey.

In making the production, I was very much influenced by Louis Theroux and Stacey Dooley
who are masters of this genre. I also referenced techniques used by the documentary film
maker Asif Kapadia his film Amy (2015) about the late singer Amy Winehouse (illustrations
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of these influences can be found in the image selection and descriptions below on pages
12 to 15).

I feel that I applied the following conventions explicitly in the production with the
exception of ‘re-enactments’ as these were not feasible due to Covid restrictions nor
necessary for the film.

Documentary Conventions
✓ Archive Footage
✓ Presenter
✓ Voice-over
✓ Graphics/ text
✓ Single strand narrative
X Re-enactments
✓ Real people
✓ Reflective

‘The Girl from Galveston’ is the story of one woman’s remarkable life over 100 years of 20 th
Century American history. In constructing the narrative of the story, I used a linear
chronological approach segmented into a pre-amble/context opening section delivered
through a piece to camera in order to introduce myself as the narrator as well as setting the
scene for the context of the story including my personal connection and family history
followed by three subsequent ‘Acts’ (childhood; adulthood; womanhood) and a musical
montage to end the film with closing credits.
Voice-over was used to link the different parts of the film together particularly in the first
quarter of the documentary to provide a seamless link from the pre-amble about the Casey
family in rural Ireland to Galveston and the start of Myrtle’s life story from the 1920s onwards.
I felt it was important to provide the background story of my grandfather and his brothers
immigrating from rural Ireland to England and America and becoming successful professional
wrestlers as it added more depth and texture to the story of Myrtle and how this young Texan
woman met her future husband from Ireland. The story of how they met was pivotal to the
overall narrative (Jim Casey the wrestler landing in Myrtle’s lap during a wrestling match was
an important anecdote in the middle of the documentary).
The background music instrumentals were selected very carefully and are critical to the mood
and emotion I wanted to convey. ‘Leaving Home’ by the composer John Williams (which
originally was featured in the Hollywood Film ‘ Far and Away’ featuring Tom Cruise and Nicole
Kidman about an Irish immigrant at the turn of the last century seeking a new life in America
initially as a bare-knuckle boxer) was the perfect choice for the background story of the
Casey’s who were also Irish immigrants forced to leave rural Ireland in the early 1900s for
America where they established themselves as professional wrestlers. The track
complimented my piece to camera and voice-over parts perfectly conveying the mood and
romanticism of the wild countryside of Southern Ireland (The mountains and lakes of Killarney
in County Kerry) in the early 1900s.

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The instrumental version of the song Galveston made famous by Glen Campbell was the
perfect choice for segueing from rural Ireland to Galveston in the Gulf of Mexico; and for the
final montage of 1940s dance clips including Fred Astaire and Ginger Rodgers interweaved
with the memories & moments in Myrtle’s life through carefully selected photos, I chose a
Bing Crosby track – his version of This Land Is Our Land’ firstly because Bing Crosby is Myrtle’s
favourite singer; and secondly because the song is upbeat and reflects a significant moment
in time for Myrtle – 1940s America when she met her husband. It was a fitting tribute to a
remarkable woman.
In terms of archive film footage and image selection, I spent a lot of time researching through
various historical libraries including the American Library of Congress, the Texas Archive and
the Galveston History Center at the Rosenberg Library in Galveston for film footage and
photos from the Great Depression, life in Galveston during the 1920 and 1930s, the Second
World War and the Civil Rights Movement of the 1960s. I also found the British Pathe archive
very helpful especially for historical military clips. I also discovered a lot of images and archive
material about my family on the internet and from various family sources including Myrtle
herself. Fortunately, the majority of the content was royalty and copyright free; and the
personal archive from Myrtle including images and film clips were provided with her consent.
The archive film footage and images I feel made for compelling viewing; and as B-roll helped
accentuate Myrtle’s story. The inter-change between Myrtle talking to camera and timely film
clippings such as the part featuring John F Kennedy, I feel, made the film interesting and
engaging for the audience. Where Myrtle talked about sentimental moments in her life such
as her parents separating or her two boys having deceased her, I showed Myrtle on camera
so the audience could see and feel her emotions.
The overriding convention for a biographical film of this genre is that it should be reflective.
As I mentioned earlier, Louis Theroux has this casual, very relaxed, and informal approach to
his documentaries which I wanted to try and mimic. He makes it look straightforward so I
practiced my piece to camera and voice overs making several takes until I could find the right
narrative voice which sounded upbeat but natural and conversational too.

ILLUSTRATIVE EXAMPLES OF HOW MY PRODUCTION FOLLOWED THE CONVENTIONS FOR A

RELFECTIVE DOCUMENTARY

A key component of a reflective documentary is the use of montage as part of the film’s
composition. Due to Covid lockdown restrictions and the impracticalities of filming on
location (with Myrtle located in America, and myself in England), I had to use more creative
filming techniques in the production process.

As I mentioned earlier the documentary about Amy Winehouse, ‘Amy’ was an important
reference film for my production as it was made after Amy Winehouse’s death using archive
film footage, interview clips and photos with voice-over narration. This was the approach I
adopted for ‘The Girl from Galveston’ to overcome the Covid and geographical barriers.

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First image: Montage image from ‘Amy’

Second Image: Montage image of Myrtle and her husband Jim/’The Girl from Galveston’

First image: Mary Beard/’Inside Culture’

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Second Image: Stacey Dooley/’The Life of Lockdown’

The two images above are examples of a direct piece to camera that you would see in a
reflective documentary to help bring the personal connection to the story. The direct contact
allows the audience to feel more involved and engaged in the conversation. A piece to camera
is also used to for the presenter to give context to the story in order to hook the audience and
allows the audience to understand who is telling the story and why. I decided to do my own
piece to camera in my documentary, as in my first two rough edits it appeared quite confusing
as to who was telling the story as I had only used a voiceover and jumped straight in with no
proper introduction. In order to resolve this issue, I filmed a piece to camera to connect the
story together, to give context to the audience about the story I intend on telling and why,
and introduction to who I am and why I have a personal connection to my production. I
decided as the main role of the editor my background should look professional and engaging,
I used two computer mac screens and had premiere pro on. I wanted the effect to seem as if
I were interrupted whilst editing my production as you would see in a reflective documentary
like Louis Theroux. Having my editing software in the background will inform the audience
what my role is within the making of this production. I analysed a documentary by Stacey
Dooley during lockdown, called: Lockdown Heroes. This was very helpful as not only was the
style of documentary reflective, but it was made in the challenging time of lockdown for
filmmakers. This helped me a lot in understanding ways to overcome Covid for filming an
interview on zoom.

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Third Image: Daniella Marie Casey/’The Girl from Galveston’

First Image: Amy Winehouse/’Amy’

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Second Image: Myrtle Casey/’The Girl from Galveston’

I used this direct style interview of Amy Winehouse from the documentary ‘Amy’ as a key
reference for my own documentary. Prior to filming, I provided Myrtle with a detailed set of
directions and held a briefing meeting and ‘dry-run’ rehearsal so when it came to filming, I
was able to film Myrtle in one take talking to camera. I wanted the audience to feel that
Myrtle was telling her life story directly to her audience which I feel was successfully
delivered. Although the framing is slightly different this was done due to the interview being
online and its more direct allowing the audience to feel more engaged and involved.

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EXTRACT OF THE GIRL FROM GALVESTON SCRIPT

The following extract from the production script showcases how I approached this
documentary with a mix of piece to camera narration at the start followed by subtle use of
background instrumental music carefully selected to evoke the mood of the period (1900’s
rural Ireland) and location (Galveston) with voice-over elements to link the story in a seamless
way.

Do you believe you did your topic justice?

‘The Girl from Galveston’ was a very challenging and rewarding experience for me as it was a
very personal project about my family’s history and in particular the life of one person, Myrtle
Casey. I wanted to make a moving tribute in film to Myrtle that both her and the wider family
would be proud of. I know from my research that she would often be behind the camera lens
filming her husband throughout their time together so I wanted to make Myrtle the focus of
the story. The original concept of making a documentary short about celebrating womanhood
and the story of ordinary women living extraordinary lives was delivered but ‘The Girl from
Galveston’ turned out to be more than that. As one person commented after the screening,
it ‘was a beautiful love story’ and a piece of ‘history’. When I think about, Myrtle has lived

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throughout some of the most defining moment in modern American history as well as seeing
19 U.S Presidents in office.

Reflecting on the topic research and specifically what was useful and what helped me improve
my production:

• I found that following the historical timeline of the story chronologically helped me
with the development of the story and the overall production. For example, when
Myrtle spoke about the Great Depression and the Second World War I knew from my
research how this would be sequenced in the film. I used the key moments in 20th
Century American history to educate myself and learn more about them including
the great depression, the golden age of Hollywood, and the civil rights movement; I
tried to imagine what life must have been like for Myrtle during these times and by
watching original archive footage from various National and regional libraries in
America I was able to immerse myself into those moments. This immersion helped
inform and inspire the questions I wanted to ask Myrtle and I think her response on
film reflects this preparation.

• During the topic research I discovered a book about my family published in 1990 (‘The
Legend of the Casey Brothers’ -a title that was taken from a sports headline in the
Daily Mirror newspaper back in the early 1940s). The book was an excellent source
of material including memories and anecdotes from Myrtle which inspired me to
make this film about her.

• Myrtle also prepared some detailed notes for me in advance of the production about
her early life, growing up in Galveston and life during the Second World War. These
notes really helped me get a deeper insight into Myrtle’s feelings and observations
and in turn enabled me to shape the storyboard direction and script including the
prompts I would use during filming and the selection of film clips and images.

• Myrtle’s Facebook page was also a great source for further insight into her life and
personality. Pictures of her driving, sewing and cooking at 99 years of age along with
amusing stories and anecdotes highlighted what an inspiring and amazing person she
is. I think the audience will come away with a sense that Myrtle is such a loving,
caring, sensitive, charming, graceful and witty woman.

Do you believe your interviewee enhanced your story?

Without a doubt, Myrtle was the ‘star of the show’. She is an exceptional storyteller full of
passion and zest for life. She is very sharp and well spoken; and has lived an amazing life full
of memories and anecdotes. The original raw interview footage was approximately 50
minutes long and the challenge for me was editing this down to 15 minutes as the other 35
minutes of film was also riveting and engaging viewing. I think the Facebook feedback from
others that viewed the documentary (referenced earlier on page 5) best summarises how
much Myrtle enhanced the story:

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Wow! Tears and goosebumps. She is one kind for sure

An amazing life, an amazing lady

Myrtle you are a beautiful person

Problems you faced

The biggest challenges I faced during this production (some of which have already been
mentioned) included:

• The restrictions for filming due to Covid lockdown and the geographical impracticality
of me going to Texas, USA to film the documentary in person. The use of Zoom
technology, voice over narration, piece to camera and montage enabled me to create
a reflective documentary despite the Covid limitations.

• The importance of backing up my material. Unfortunately, mid-way through the

production process I lost my USB memory stick which contained my first edit of the
documentary. Unfortunately, I had not backed up this version of the film which meant
that I had to re-do it. This was a real ‘lesson learned’ moment.

• The importance of contingency planning. After-all the preliminary preparations and

planning, Myrtle decided to withdraw from the project due to the pressures of Covid.
I would definitely have an alternate production (Plan B) idea/concept in the pipeline
just in case. Fortunately, I was able to persuade Myrtle to go ahead with the project
in the end.

What would you do differently next time / if you did it again?

I am very proud of my production but if I was to do things differently or do it again I would
certainly consider the following:

• I would have included my perspective during the documentary showing footage of my

reaction to Myrtle’s dialogue more frequently (Louis Theroux style). I could also have
shot two different angles of myself as I was unable to do this with Myrtle to bring more
variety to the shot making.

• I would record my piece to camera again, as I felt that I talked a little too quickly
(although others have commented that my piece to camera went well – I am perhaps
more self-conscious about this). I would also have avoided unnecessary background
noises during the piece to camera by using a location with no-one else present during

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 recording. I was fortunately able to mask any background noise with the instrumental
backing music.

• I would have tried to make the flow of the montage and images work even better and
more smoothly.

• I would have tried experimenting with colour grading on Myrtle’s interview footage to
see if it was possible to show more detail of Myrtles head as it was occasionally
‘grainy’; and the background had a greenish tint which I could have tried to fix.

In summary, I have thoroughly enjoyed the journey I have been on with this final film
production. I have learned a lot about myself as a person and a film-maker; and I am very
grateful to my teacher and peers for all their support during the process. In the words of
Myrtle, ‘As I move along in age, I wonder, is this the end of the family history’, I am absolutely
committed to developing my filmmaking career so I can continue to make documentaries that
do justice to the stories of peoples lives; and with Myrtle, she has inspired me to find out
more about my family history and out of respect to her I want to keep our family history alive
for my generation and the next.

Post-production Feedback Survey at Pre-Screening Stage (from the

original Pre-production Focus Group)

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In the narrative, now reflecting on it there are a few possible elements I may have missed.
For example: In the very first section where Myrtle talks about her early childhood, she
could have explained a few more details about her early childhood during the great de-
pression. For example: when she says she had moved in with her grandfather, I could have
asked her to give a few more details about her experience on the struggles. In particular:
did she have shoes; did they have to ration their food. Although Myrtle did mention the
struggle and difficulty of it and how it led to her parents splitting up because of it. How-
ever just a few more specific details could have really helped the audience picture it in
their heads.

I could have asked Myrtle to talk about how she felt when Jim died. Even though I show a
small clip of Myrtle visiting his grave and reflecting on the wonderful life they had to-
gether. I could have explored more about Myrtle describing it and how she felt to end the
love story. This could have built up the emotional aspect of my documentary where I
could have added an emotional background track to emphasise how she feels. Initially I
did not want to get too sad by asking Myrtle as I knew how much Jim meant to her and did
not want her to feel uncomfortable in the interview. However, it is a possibility I could
have explored within my documentary to help build the narrative of my production.

My documentary did not turn out exactly how I thought it would in terms of the filming sit-
uation and due to covid, However I am very happy with the results as I will still be able to
produce an effective short documentary that is very personal to me and my family rela-
tives that I am glad I was finally able to share Myrtles amazing story. I would have pre-
ferred to go to Texas myself and film using my own equipment but due to covid I have had
to adapt to what I was able to achieve from home and this was to use an online platform
such as: A zoom call interview. Then I thought about possible ways of keeping it engaging
as I analysed a Mary Beard documentary, she asked each of her interviewees to get a mo-
bile phone and just film their side profile. I thought this simple technique was effective,
however this became too complicated for Myrtle and Pat and due to covid they would
have no assistance from any family or friends in Texas. This was understandable and at
this point I knew I should take a step back as I did not want them to pull out of the project
all together. And I decided to have only the zoom call interview keeping it raw and natural
as you would see in a reflective documentary.

With more time and better resources, I do think I would be capable of achieving a better
production. This is because being able to tell Myrtle’s story was an amazing opportunity
and a great subject matter that entertained many people. I was given more time I would
have been able to have more time to overcome solutions, as the filming issue was very last
minute. And with better resources and covid not being the main issue there would be no
limits to my production.

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