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BINARY TRUTHS

Country of Origin - United Kingdom | Running Time - 11mins, 40sec | Aspect Ratio - 1.9:1
Sound - Stereo   | Completion Date - May 2020 | Language - English

CAST
Anais GEORGINA VOADEN
David TOM METCALF
Anais' Sister AMELIA RAYMOND
Ben BRADLEY CHARLTON
Radio Jockey MELANIE REVILL
Radio News Broadcaster GARY RAYMOND
Dr. Maureen Booth SARAH CHARLTON
Tv Interviewer GABRIELLE MASTROLONARDO
Bar Goer FELIX CULLIP
Bar Goer DAN DEMETRIOU
Bar Goer LIZZY HEWITT
Bar Goer GABRIELLA LOPEZ
Bar Goer OLIVIA MILLER

CREW
Production Company CRAZY GOOSE PRODUCTIONS
Writer / Director / Producer BRADLEY CHARLTON
Director of Photography OLIVER RIGBY
Original Score WILLIAM CUNNINGHAM
Production Designer DAN EVANS
Production Manager GABRIELLE MASTROLONARDO
Make-Up FRANCESCA MORIARTY
Sound Recordist MISSOURI SUTCLIFFE
Assistant Camera SUKHPREET POONIAN
Assistant Director ROBINSON DITANDY-LECOMTE
Editor BRADLEY CHARLTON

Bradley Charlton
+44 7493 772727
bradley@crazygooseproductions.co.uk
www.crazygooseproductions.co.uk

©2020 CRAZY GOOSE PRODUCTIONS. ALL RIGHTS RESERVED.


synopsis
Young and successful academic Anais, finds her daily life interrupted by a series of
visions. These visions grow increasingly intense until they become unbearable.
Disorientated, she finds herself in a desolate underpass where she comes face to face
with David. An unrelenting journey ensues as Anais is ruthlessly forced to confront the
horrors of her past and the true nature of her existence.

DIRECTOR'S NOTE
Binary Truths is an exploration of realities. The film delves into the mind of a young
woman and into her reality. It beholds the objective, subjective and personal truths
within this reality, questioning each one's validity. It is a film about personal identity
and the amount of control one can exert over it. Decisions and actions are interwoven
with their consequences and effects as the narrative explores who Anais is.
The screenplay was written six months before shooting began with some revisions
made later on. The role of Anais was offered early on to Georgina Voaden after we
collaborated on The Golden Girl (2019) and the role of David was offered to Tom
Metcalf after bearing out dozens of other actors. Oliver Rigby came on as Director of
Photography and extensive lighting and vfx tests were carried out over the coming
months due to the complex nature of the film.
An extensive pre-production lasting nearly four months was followed by a six day
shoot in 19 locations with 47 scenes. Two months of editing later and despite a Run
Time of just 11 minutes 40 seconds, Binary Truths clocks in nearly 250 shots and nearly
40 scenes.
The making of this film required a Herculean effort from the cast and crew.
All whom I thank profusely and am forever indebted to.
Bradley Charlton
BRADLEY CHARLTON
After a string of low budget short films while attending Oxford
Brookes University, Bradley founded the production company
Crazy Goose Productions. The company's first venture was the
short film The Golden Girl and now Binary Truths. The company
is looking to transition into feature filmmaking,

GEORGINA VOADEN
Georgina has always had a passion for acting and after starring
in low budget short films, in 2019 Georgina played the
supporting role of Rebecca in Bradley Charlton's The Golden
Girl. Georgina teamed up with Bradley again, this time in the
lead role in Binary Truths.

TOM METCALF
Tom worked behind the scenes in the television broadcast
industry for five years but acting has always been his passion.
Binary Truths was Tom's first part in front of the camera in
almost a decade. Following this, he secured the lead role a
Sci-Fi Thriller and with more work in the pipeline, he is
determined to follow this career.
A TALK WITH BINARY TRUTHS COMPOSER

WILLIAM CUNNINGHAM
What was the first project you collaborated on and what was that process like?
WC: Our first collaboration was The Golden Girl. I'd never scored a film before
that - the only experience I had with composition was in a university module
where I scored a scene for a video game and an advert. The process on the film
consisted of going to the studio together, me showing Brad music I'd
written, chord progressions... I played them to him and he loved them! That really
set the tone for the music of the film. Then it consisted of going back and forth and
sharing ideas before arriving at the finished product. I've heard from composers and
filmmakers how directors and editors don't like to change what the have edited, that
the music has to fit around the images. But with Brad, he's very flexible. I get a copy
of the script and begin working on the score before shooting starts. I then show him
what I have come up with and if there's a piece of music he really likes, it influences
his work and he will adapt the shooting.
This is your second collaboration now, was the process on Binary Truths any
different to your first collaboration?
WC: With Binary Truths it was different. We
didn't manage to get Brad to hear much music
but he still told me to start writing before
filming. And at first he didn't necessarily like
some stuff but knowing what pieces he didn't
like was good. There was a lot of back and
forth and then after he shot, I had some scenes
to work with. For me its coming up with a base recording studio for the golden girl
idea - a set of chords, a melody or an instrument. I also like to develop character
themes or motifs and I had some "interesting" characters to work with. In fact, the
last thing I did come up with was a theme. Which was good because I had all of this
context and Brad even said "you have these scenes, this context to work with now
go and create something". Without a scene to work with, just the character of Siana,
knowing what she'd been through, I had a good idea of who she was and what I
wanted to achieve. I wanted this series of unfortunate events in her life to relate to
her theme and having already written pieces for these events in the film, I went
back to those pieces and used them in the theme to develop this sense of character
and place.
A Word From Binary Truths Production Designer

DAN EVANS
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In order to achieve the look of Binary Truths, Brad and
I met up regularly throughout pre-production to
discuss the film's aesthetic. Once I received the script,
we discussed the intentions of each scene and from
there, we went into specifics for each scene, making
floor plans and prop lists. One of the key things we
discussed was the colour scheme in the film, the reds
and oranges are dominant in Anais' world an they are
then accentuated with the greens. These colours were important when designing the
sets and purchasing props. We paid particular attention to these details as they give the
viewer an insight into Anais' world. We worked hard to find the right paintings and
artwork in particular. Brad and I were constantly in contact throughout pre production
as that was were most of my work was done. Once we began filming it was a case of
bringing the ideas and plans to life, one of the biggest challenges was the bar scene. I
remember I quite adamant that I wanted orange coasters in the bar scene but right
before we started shooting, I decided I didn’t like them and told Brad and he said “then
get rid off them”. You have to try things and not be afraid to make big decisions, there’s
a lot of trial and error. I had a lot of freedom in doing my work, we had a fantastic team. I
was very happy with the end result particularly the living room scenes and the
abandoned house which I actually scouted myself.

NOMADIC | 24

Above: Still from Binary Truths.


Thumbnail: Bradley and Dan on set.
Georgina voaden

binary truths
Tom Metcalf

binary truths
In conversation with director BRADLEY CHARLTON
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and director of photography OLIVER RIGBY

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How did the project originate? be in the film. So we spent a
long time prepping and
BC: It started as a comedy.  experimenting with lighting.
OR: [laughs] BC: Yeah we did. Mainly
BC: I've always written these because I like to be flexible and
dark psychological character am willing to discover or
pieces so I wanted to do change a scene on the day.
something different. It didn’t The VFX shots were very
happen [laughs]. It was precisely planned but for the
supposed to be a funny love rest, although we had a shot
story but what’s interesting list, it really just served as a
about that? I like to make films safety net. I like to be free and
that ask more questions than it be able to change a shot or
answers. I want to make a film set-up based on the actors but
about something I don’t Lighting Camera Tests to do this you have to have a
understand and with being the VFX shots and the DP that can easily adapt. But
characters I don't fully door. It appears and for me, the key is the actor.
understand. disappears, we had dolly shots OR: Yeah the prep was key.
OR: Do you remember the form one location to another. Specifically for the shots of the
door wasn’t in the first draft BC: I think we have a really door because if we got that
you showed me? good understanding and once wrong, the film wouldn’t work.
BC: That’s right actually, I I start telling you my vision, you BC: Absolutely. We always
forgot about that. The original get it and deliver it even better work to serve the actor and
narrative was more linear than than I hope. create the right environment
it is now. I like that she OR: The film was essentially for them to work in.
disappears into her own mind made before we started OR: Speaking of environment,
and relieves these experiences shooting through all the prep. Dan (production designer) did
in this fashion. She is Then we just had to capture it. such a great job with the set
recounting this story and her BC: We discussed that we design and I wanted to really
memories and in that sense wanted a handheld look, we make that stand out too and
she’s an unreliable narrator also decided early on to shoot do it justice.
and we can’t really trust with long lenses and began BC: And Fran with the make-
anything we see in the film. developing colour schemes for up.
OR: The door almost became the characters and lighting. We OR: Oh the make up was
another character in the film. wanted the handheld so that it amazing. It was a joy lighting
would give the film a sense of the actors faces.
What was Pre-Production
realism, even though it isn’t BC: But overall, all the
like for you both?
quite reality, and also the aesthetic choices made in pre-
BC: We started by talking shakiness mirrors her unstable production were made to
about what the overall goal mind. But the biggest thing was serve the characters.
was and how we could achieve definitely the lighting. OR: Especially in the colours,
that. Then we talked about OR: Yeah we did tests a couple we gave the warmer red
specific scenes. But mainly we of days a week for a few weeks. colours to Anais and the
identified what would be I remember you stressed to greens to Siana. The green
challenging. me from the beginning how slowly creeps in throughout
OR: Yeah the main challenge important the lighting would the film until it takes over.
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What was the experience the people around you are
of working together like? invested and are will be willing
to take a bullet for you if
OR: Well this was the first time needed. I pick people, and I
I worked as a DP, before I'd really emphasise the word
directed and worked as a people. I don’t care if you’ve
camera assistant on Brad's last never acted before, it doesn’t
project The Golden Girl (2019). matter. I don't care if you've
But it was a great experience, never held a boom, you can
we work really well together learn all that. I mean I saw
and have a good Oliver more than my own
understanding, one of things I fiancee for a weeks. What was the highlight of the
really like is that Brad is open OR: It's true. shoot?
to change.  A lot of directors
have a set idea and follow the What was the shoot like? BC: The Underpass Scene.
storyboards and that’s just BC: It was a tough. We shot six OR: Underpass hands down.
boring. days and they were long, BC: It was incredible. It was the
BC: Well that’s why its a sometimes twenty hours, ten second day of shooting and it
collaboration. I enjoy of which we'd be shooting. The was a really tough day. Storm
collaborating. The job of a rest of the time would be set- Denis had hit that day and it
director is to surround himself up, dailies, discussing the work was absolutely pouring and
with talented people and then we'd done and the next day's there was thunder and
utilise their talents and let work. It's all encompassing. lightening. We were 2 hours
them suggest ideas. If I like the OR: It takes over your life. You behind schedule and it was
idea or decide to go with it is have to stay mentally 11pm at night but we knew we
another thing but there should motivated. But physically it couldn’t re-shoot any other
be a conversation. gets tough too, you have to time in the underpass so we
want it. got there and shot and it was
BC: Especially on a low budget amazing. I think we could film
indie film, you do a lot of work. that scene 100 times over and
OR: That's true but I think the it would never be that good.
scheduling was spot on. The We got the VFX shots first as
shooting order and locations they’re the most technically
was perfect so that made it a difficult and then filmed the
little easier. And having Gabby running shots and the
was a big plus. confrontation between them
BC: Gabby was the production and it was unbelievable. It was
OR: I think you’ll always attract manager and really made sure one of the only scenes that I
people to work on your films we stayed on time, that the operated the camera on and
because they know they’ll get equipment was on set on time, the atmosphere was
the opportunity to bring that we ate. absolutely electric. 
something to it themselves. OR: [laughs] Yeah we really OR: By far the best moment
And that's exciting. needed that.   for me and there were a lot of
BC: An important thing is to BC: I get caught up in the great moments like the
work with like minded people. performance and fall in love bedroom scenes and the car
Making a film is hard and with the acting so having crash. But that was jaw
you’re essentially going to war someone hurrying me up is dropping. The atmosphere was
so you need to know that the what I need. electric in there and you feel
that atmosphere when you watch the film. I
remember you saying after that was the battle
that would win us the war.
BC: Yeah I think it was, after that it got easier.
I think it gave us the extra incentive we
needed to finish the film. 
OR: You were directing them and talking to
them during the scenes while holding the
camera and the performances were insane! It
looked like you were in the scenes.
BC: The storm, the chaos of it, seeped into
the scene and we captured a moment in time
I think.
And what was the biggest challenge of the shoot?
BC: For me, anything that involved the door. I love working with the actors and blocking a scene
but the door was so technically complex.
OR: Yeah the door was a pain. For my it was operating too. I love it but the camera, shoulder
mount and follow focus aren't light. I enjoy being hands on and as DP a director communicates a
vision to you and you have to understand that vision and get it on screen. So why would you then
have another person operate? The communication and vision get lost. I like having a second,
sometimes a focus puller but that’s it.
Were you happy with the finished film?
BC: I don't know. I'm too close to the film. After shooting, I edited the film and that took twelve
weeks in total. I think I just wanted everyone that was involved in the film to be proud. After that I
don’t care. I just wanted the cast and crew to say 'yeah I was apart of that'.
OR: I was really happy. I obviously wasn't involved in the editing so I had kind of forgotten what we
shot which was great. When I saw it, it was even better than I'd hoped. I love Brad's editing and the
whole tone and atmosphere of the film.
What's next for you both?
BC: Well, at the time of this interview we're in the midst of the Covid-19 outbreak so at the
moment it's just about staying safe. Thereafter we're looking at getting the film into festivals and
then at securing funding for a feature film that I wrote a while back called The Trespassers. It's an
ensemble piece with intertwining stories. It's essentially a moral tale. Hopefully we'll get that off of
the ground soon and that’ll be our next collaboration.