Charlie Chaplin 

By Bryony,
Matilda,
Morgan,
Holly, Jade,
Emily,
Megan,
Harry and
Charles.
The ‘Bangers Crew’:

Charlie Chaplin film

• Bryony Bishop: Director and Extra Prisoner Inmate 1 
• Matilda Powell: Director & Director of Cinematography and Prisoner Inmate 2
• Morgan Perry: Charlie Chaplin, Editorial Director, assistant director. 
• Jade Patrick: Tall Aggressive Prisoner 
• Holly Dereya: Detective Warden 1, Makeup Artist, Assistant Director of Cinematography.
• Charles Winterburn: Detective Warden 2 & Prisoner Inmate 
• Harry Marsh: Key Holder Inmate & Prisoner 
•   Charles Winterburn: Extra Prisoner Inmate 3 
•   Emily Drury: Prisoner Inmate 4 & Cell Door Warden Guard

https://youtu.be/Yec5_TPNmeg 

We very much hope you enjoy the film…

 History and Context:
 The film ‘Modern Times’ where the ‘Missing Nose Powder’ scene is initially from, was released in February 1936, merely seven years
after the Wall Street Crash of 1929 which sent the state of America into economic collapse and subsequently caused the Great
Depression. 
 The Great Depression carried through to the time in which ‘Modern Times’ was released which meant it would have an impact on the
audience. 
 The prospect of ‘nose powder’ or cocaine was likely a lost concept on an audience during the 1930s as drugs were not a publicly
discussed subject as cultural impacts such as religion which presided over people around this time. So the comedy in this scene would
likely have been lost the audience or would’ve been considered heavily risqué in society. 
 So we decided to go for a more animated approach to entertain both a 1930’s audience and a modern day audience. 
 We wanted to make Chaplin’s movements particularly eccentric like when he runs out of the door and bangs his head into the glass.
Similarly, we wanted to make the fight scene just that tad more dramatic and bring with us the more cartoon-like approach. Like
when Chaplin throws one of the crooks in the stall then remembers he has the keys so he gets him out again. Likewise when the big
prisoner from the cafeteria scene approaches Chaplin in the second to last clip. We used a medium full shot to make him seem as
imposing as possible so that when Chaplin knocks him out with a small slap, it’s more shocking and entertaining for all audiences. It
would’ve been great to explore that comedic approach further and perhaps we’ll get to look at the comedic side of things in filming in
the future and explore how to entertain multiple audiences. 
 Research and locations
 The great depression of the 1930s resulted in greater use of imprisonment and different public
attitudes about prisoners. 
 The 1930s are most remembered for mass unemployment. In the early 1930s we were hit by depression. 
 By the late 1930s, the modern American prison system had existed for more than one hundred years.
 The prisons conditions were grim for the prisoners.
 Mentally ill inmates were held in a room with no treatments available to them.
 Slowly the conditions of the prisons were improving.
 The locations we choose was the bathroom and a classroom. The bathroom had some space but not a lot to
film and the classroom was blank and didn’t have a lot of life to it so it was perfect as the prisoners
wouldn’t have had that.
 Scenes that went well:
This scene has gone well in many ways from pacing, to shot composition and marking.
Although this scene took forever to film This was because of a couple reasons during shooting.
One being the fact that Morgan really wanted a fully choreographed one shot (he directed this
area of the film) and also the fact that we needed to get each movement the best it could possibly
be. This scene also went through a lot of changes and development which we finally decided on
a wide 4 person still shot with an angle as we thought it was the best way to keep all the action in
it while remaining truthful to the source material. Movement and marking was also a big deal as
we felt we can't have a high action scene with barely any movement, but we also wanted to
incorporate the stuff we have learned from Nigel and Rachel's lessons with Stanislavski circles of
attention therefore it was important we needed to rehearse who needed to move and when
because if this scene wasn’t well mapped out it would've become a jumbled mess without any
coordination.
Another Scene That Went Well:
The scene where Charlie Chaplin and his aggressive seating partner are fighting over
the bread, and the same scene where Charlie is unintentionally getting high in front of
him, is glorious. Yes, these long shots took time and a lot of effort, but they came out
with a fast but steady flow and a sense of practiced choreography. Rachael and
Emma's lessons, as stated previously, were truly extremely helpful through both the
knowledge of the Laban movements, but also the fact that we did perform a couple of
shots in front of Emma as well. Excellent feedback proceeded to come as a result of
our need for feedback and I believe our shots and scenes are all the better for it.
Myself and Jade here tried our very best to replicate this complicated scene from the
original picture. This, and the other shot, are medium two shots and were directed by
Bryony and Matilda.
 Bloopers and what went wrong:
Continuity-
 As a group, we were so worried about potential continuity errors that we created some
shots whilst trying to fix them. For example, our protagonist's beanie. 
 At the very beginning, we see Megan with their beanie on in character and everything
looks good! It is only when everyone is seated at the cafeteria does this beanie start to
develop a love-hate relationship with the camera. 

(Harry is now going to show you by playing this video and pointing out the errors in each shot) 

https://youtu.be/-EsRWuyiMOE
 What went wrong:
Continuity-
 The reason why Megan's beanie gets taken off whilst being taken away is that originally,
we had a fight scene shot where the beanie was missing.
  To "fix" this error, we inserted a shot that labelled this beanie as some sort of disguise so
Megan can continue their character without the hat. 
 This became a problem when we re-shot the fight scene on the same day, and everybody
forgot that this beanie wasn't supposed to be on Megan's head. 
 The new problem we had was that the scene where the beanie flies off Megan's head was
so good and comical, we had to keep it. So, unfortunately, this beanie did not pass the
continuity test. 
 Shot Types:
During the Filming process the 4 main shots we used
were: 
Sizes: • To devise each camera angle for our characters as a crew we
• "Wide Shot"- Was significant when me and 'Morgan'
sat next to each other eating Food in the canteen. 
• "Crowd Shot"- This was mainly used when there was
the dramatic fighting scenes at the cells, as a cast we
had been fully involved with each other from fighting to
lining up along our cells.
• "Close Up"- Here we developed that a lot of the time
'Morgan' was used to zoom in for confusion to the fat
prisoner in the canteen or to show effect such as when
he was dodging the bullets from the gun rapidly. 
During the different types of shots as a crew we thought
about how to experiment with the camera and what would
look most effective to getting every position secure and in
Shot
throughout about the emotions intentially behind our character
and how the individual Frames within marked where each
camera angle was. Here are some examples through our Film. 
• "Two Shot"- To address who was in the Frame in the canteen
'Morgan' and I were only seen eating as it represented what the
main subject was and what happened.
• "Over the Shoulder"- When I got right in the face of 'Morgan'
I could see clearly that I was taller and much larger of a
character. Here this signifies that there were 2 of us in the shot
and anything from my shoulders to head was going to be look
bigger from where the camera was situated between.
• With each shot that our crew filmed each of the multiple sizes
depended as well on the size of the location space that we used
when shooting our scenes and how the camera is set up before.
 End!!
The End