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3. Abstract An Act is a feature length narrative film exploring the aftermath of unsubstantiated accusations of sexual harassment that damaged a career of a young student actor. I intend to use the award for selected direct costs of the production. The fictionalized story is inspired by real life’s events that tore apart an idealistic theatre community and broke the dreams and lives of those involved. The real persons in the incident will work with me closely to help capture the nuances and complexities of the issues surrounding it. I will be utilizing the neo-neo realist model in my writing and directing the film to deliver an authentic portrayal of the characters and events. Stylistically, the film will blend narrative fiction and documentary. I’ve already received the CoFA Creative Research Award (October 2014) for the purpose of conducting personal interviews with the main subjects as part of my screenwriting process. I have assembled a crew of talented and committed artists and professionals, with whom I have worked in the past making my previous films. I intend to utilize my past experience and all resources available to deliver this story to the screen with the impact it deserves. It is a vital social commentary and a key project in my career. The world of professional acting engages in a constant pursuit of the thrilling illusion of reality in performance. The sexually explicit stories lure the actors to take great risks and often stretch the boundaries protecting their personal intimacy. There have been stories exploring false accusations of sexual misconduct arising from numerous fields of work, but never one set within the industry that invites its players to appear real while performing sexually explicit content. How do they prepare for this job and how do they work with each other to ensure personal safety? What is their line of defense if their apparently ‘real’ actions are mistaken for a foul play? This story does not judge moral standards of actors. It observes and comments on their work environment and its failure to protect them while at work. In doing so, it reveals a larger social problem within the system. It is most apparent in places where young professionals are most eager to be good and therefore willing to take greatest risks, and become most vulnerable. It is the more upsetting that in those places there seems to be a serious lack of clear policies that would ensure a safe environment for their acting exploration. As a result, those who dare to take risks pay the price. This story aims to illuminate the murky and neglected subject matter of sexual misconduct. It is my hope to deflate the taboo that surrounds and suffocates the real issue and disallows for a constructive dialog to emerge. In making this film I continue my artistic mission to address socially imperative concerns that are often marginalized and deem difficult to depict. An Act is an attempt to capture and bring to the screen its dark heart. I am a new faculty at the College of Fine Arts and this project is my feature film debut. It is a milestone in my artistic and professional career as a filmmaker, and a key to my scholarly journey at the University. 4. Discussion and Methodology Aims and Production I intend to shoot and produce the film in Toronto, on locations of the University of York where the real events unfolded. There are several advantages of filming at York. I will be able to access the authentic setting for the story and easily obtain the necessary permits to work on and around the York campus. The respective departments of Film and Theatre offer a film friendly environment, and provide abundance of young talent and access to equipment, and production resources. I intend to hire the additional crewmembers, actors, and extras, from the respective Film and Theatre departments. Toronto, being well accustomed to filming, offers easy and 2 relatively inexpensive access to absolutely all needs for any set, ranging from mega production to a low budget independent film such as this project. This will allow me to provide my set with the necessary film equipment, but also to organize a comfortable set supported by the necessary production vehicles, tents, chairs and tables for feeding the crew and talent, catering services, and most importantly ensuring the safety of all involved. Toronto is also my home base, where I have developed an extensive professional network. I will rely heavily on the help of my professional contacts to organize the production. The most important advantage of working in Toronto is that I will be able to assemble my original core crew, with whom I have collaborated numerously working on my films in the past. Their presence will speed up significantly the preparation process and create a familiar, professional, efficient, and confident set. Through our past experience of working together we’ve developed a mutual trust. I have full confidence in the quality and safety of their work, while they share the same trust towards my methods and my role as their leader and director. This well earned trust is instrumental for the overall execution of the film. It will inspire everyone on set, and allow me to take greater artistic risks. My goal is to utilize our existing professional bond to transform the story on page into a truly great cinematic experience. I plan to film on RED ONE camera and complete the production in Winter of 2015. To achieve the ‘documentary feel’ of the picture I will employ various techniques through hand held camera operating, minimal to natural lighting, and vigorous or spontaneous camera motion achieved through fast shutter speeds. I will be using 35 mm format lenses to create a lower depth of field than is typically seen in modern documentaries to achieve the style of Cinéma vérité. In keeping with the documentary feeling I will be using a very minimal grip and lighting package. In the daytime scenes I will work with natural light. I will only manipulate this light through diffusion and bouncing. Shooting on RED offers another distinct advantage, a relatively quick workflow on set, favoring time for directing actors and perfecting the performance. I have previously shot three films on RED and intend to fully utilize my experience of working with this equipment to optimize the actual shooting time within the daily schedule. Please, refer to the Appended Materials 1: Examples of Previous Work to see my work with RED and the image quality that resulted. 3 The Story Outline The story as it occurred in real life begins in Romania, where Costa, an ambitious young actor learns about an exciting opportunity to study acting abroad. It is just after a brutal change of regime – everyone still remembers the publicly televised execution of Nicolae Ceausescu. Costa decides to taka a chance on the new life. He and his wife Ana, and their newly born son Maxim, leave Romania behind and travel to Toronto, where his is about to begin his Master’s Degree at a renowned theatre program. His talent is quickly recognized and he becomes a protégé at the school. For his final exam he is paired with a young actress, Natalie, they are to present an emotionally and physically challenging scene. The rehearsals are going well and both are hopeful to make a good impression. Their trust at work grows and so does their friendship. They become increasingly closer, but when things begin to affect the work, Costa decides to put an end to the intimate side of their relationship. On the day of the exam Natalie is nowhere to be found, while Costa is called to the Director’s office. He is informed that Natalie has laid formal accusations of sexual harassment against him. He is stunned. He tries to reach out to her, but his plea for a meeting is denied. Meanwhile the story leaks out and Costa becomes estranged by his colleagues and other professors. He reaches out for help at the school, but doors seem to be closing. During the university’s internal trial Costa faces a committee made of professors from physics, biochemistry, and political science. His own supervisor denies him the character reference. Costa is also denied legal representation and is left to his own defense. He argues: “the scene prescribed physical contact, which we’ve discussed and agreed upon prior the rehearsals”. There are no witnesses and it comes down to Natalie’s word against his. His genuine answer to the question “did you touch her?” tips the scale and Costa is suspended from the school till further notice. The Director of the Program discourages him to seek appeal: “…it would be best if you took the time off.” Costa can’t shake off the image of Natalie crying during the recounting of the events. “What did she think really happen in that rehearsal?” Costa decides not to share the news at home, but it doesn’t take Ana long to figure out that 4 something is wrong. He takes legal action against the university, but is ‘encouraged’ by the Director and other professors to drop the case. The emotional stress brings more confusion and Costa begins to doubt what really happened. His emotional swing confuses Ana even more: “Why does he feel guilty?” In the heat of the argument she leaves with Maxim. Costa’s dream of his explosive career is put on hold. Left alone, he plunges into depression and begins to believe in his own guilt. He becomes obsessed to see Natalie. Ignoring the restraining order he breaks into her apartment.

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