Jimmy and the fish
Credits
Music
FreeSound - Sad Piano Loop by SergeQuadrado. (n.d.). https://freesound.org/people/SergeQuadrado/sounds/468541/
Freesound - Hard Life 0U_51p2 by Setuniman. (n.d.). https://freesound.org/people/Setuniman/sounds/166941/
Freesound - Piano Improv. ethnic balkans by EKVelika. (n.d.). https://freesound.org/people/EKVelika/sounds/669489/
Camra bye Lukia Brown
Lighting by Talia Futa
Sound by Kat Clark
Stagehand Jack bell-booth
Writer-director George Davidson
actor James Portegys
Reflection
When we began work on our short film "Portfolio 2," we were tasked with pitching a 3 to 4-minute film. My initial idea was a stylistic black-and-white noir set in a single room. I was drawn to the aesthetic, particularly its ability to mask poor lighting and provide a unique feel that stands apart from other films. Unfortunately, my pitch was ultimately rejected due to budget and logistical challenges in recreating a 1930s setting, which would have been complex and time-consuming.
Instead, my friend George’s comedic concept was selected. His film featured a man fishing off a wharf who catches a talking fish that berates him, calling him a loser. This pitch resonated with the class, who found the idea both unique and humorous. George took the lead on writing the script and scouting locations. During the mid-semester break, he explored several wharfs in Auckland, ultimately deciding on Herne Bay after shooting a test scene there. We also considered locations near the Harbour Bridge and Silo Park, but sound issues made those sites less viable.
Initially, our crew consisted of George, Lucia, and myself, but we were informed that additional classmates would be assigned to our group via email. George had originally titled the script "Jack and the Fish," but after realizing I couldn't act due to previous commitments, we renamed it "Jimmy and the Fish" and recruited our friend Jimmy for the role, knowing he would be enthusiastic about participating. For the fish, we sought affordable options at the local fish market but found prices too steep. Fortunately, George discovered two inexpensive fish at the Avondale Market, which he bought and stored in his freezer.
Upon returning to class after the break, we met the rest of our group, including Talia, who had been in Niue. We communicated with her and invited her to the group chat, confirming her availability for the filming days. In class, we decided to move our filming location to the Auckland Skyline View Wharf, chosen for its picturesque backdrop and better skyline visibility. This new location offered a stunning view of the city and the harbor, making it ideal for our film. We booked our equipment a week in advance for our shoot, scheduled for October 2nd, optimistic about the weather, which had been clear all week. However, forecasts predicted light rain in the afternoon.
On the day of the shoot, I picked up George and the fishing gear, and we drove to the university to collect our camera and other equipment. When we arrived at the wharf, it was cloudy but still bright. Unfortunately, due to miscommunication with another group member, we arrived a bit late. As we set up, the rain began to fall. Quickly, we relocated under the Harbour Bridge to seek shelter, checking the weather updates, which indicated that the rain would continue throughout the day. We attempted some test shots, but strong winds made it difficult to record anything clearly. After an hour of struggling with the conditions, we made the tough decision to postpone filming.
We rescheduled for the following Wednesday, applying for an extension to allow us more time for editing if needed. As the next shoot day approached, the forecast warned of cloudy skies and a chance of rain. Although this was less than ideal, we decided to proceed regardless. I picked up George and the fishing gear again, and we drove to the university to collect our cameras and meet Jimmy before heading to the wharf.
On our way, the rain intensified, but miraculously, it cleared up as we reached our destination, and the sun emerged. We quickly started filming, capturing the establishing shots and scenes of Jimmy fishing. We used a tripod for stability in these shots, carefully composing each frame. However, as we were filming, we felt raindrops begin to fall again. Checking the weather, we saw a larger patch of rain approaching. To keep the narrative flowing, we decided to write a scene where Jimmy had to relocate under the Harbour Bridge to escape the rain and continue his fishing adventure. We shot this segment handheld, which added a dynamic quality to the scene.
While we were filming, we had a humorous interaction with a fisherman who passed by. Upon seeing us, he stopped to watch, laughing when we explained what we were doing—filming a man holding a fish. This moment lightened the mood and reminded us of the fun aspect of filmmaking. However, we faced a mishap with the fish: since we had two, we thought we could manage the shots better. Unfortunately, during one of the fishing scenes, the line snapped, causing us to lose one fish. This meant that we had to execute the release scene in one take, as we no longer had a backup fish to use.
Despite these challenges, the rest of the shoot went relatively smoothly, and we managed to wrap up in about four hours. When we reviewed the footage later, we were initially relieved to find the visual quality acceptable. However, when it came time to edit, I was horrified to discover that the audio was nearly unusable. We could hear background noise, including instructions given to Jimmy, which detracted from the overall film. The lighting conditions were also tricky, with the rain causing shadows on Jimmy’s face while the sun’s glare created blinding highlights.
In the editing room, I quickly got to work on a rough draft, cutting scenes that felt unnecessary, including a few throwback moments with the fish. As I was reviewing the footage, I was reminded of a classic episode of The Simpsons styled like a silent film, complete with piano music and title cards replacing dialogue. This inspired me to pivot creatively: I decided to transform our film into a black-and-white piece that would help address the lighting issues while also leaning into the comedic aspect of the narrative. By making it a silent film with music and title cards, I aimed to salvage our project and give it a fresh twist.
Ultimately, this decision proved to be unconventional but successful. Everyone who watched the revised version found it funny and creative, highlighting our adaptability as a team. While the shoot had its fair share of difficulties, it reinforced an important lesson about flexibility in filmmaking. It taught me that life doesn’t always go according to plan, but sometimes you must adapt to the circumstances you face. The final product, though different from my initial vision, showcases the creativity that can arise from unexpected challenges, and I believe it resonates with audiences.
In conclusion, our experience with "Jimmy and the Fish" was a valuable learning journey. While we faced numerous setbacks—from weather conditions to audio mishaps—we found ways to turn obstacles into opportunities for creativity. The collaborative effort of our group, combined with our willingness to adapt, allowed us to create a film that, despite its rocky path, delivered a comedic and entertaining experience. I look forward to applying these lessons in future projects, embracing the unpredictability of the filmmaking process while continuing to refine my craft.
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