PATIENT 17

Lavender low REs

SOUND

Patient 17 was 100% foleyed.
Sound designer Mauricio d'Orey designed specific sounds for each character. He enhanced the atmospheres, movements and concocted combinations of sounds to add suspense.

MUSIC

Composer Lennert Busch created the palette of sounds and instruments.
We looked at the development of the story and from there he worked on key scenes, theme and variations.
We drew the emotional journey of the audience and the film and used it as a reference to enable visual, sound and music to work together. It was an efficient way to progress.

Question : What was the most difficult part ?

It was a microbudget feature. So it was hard. We had to be very creative, efficient and find alternative solutions to get the film to a very good standard.

With the incredibly hard work of a lot of people, a bit of luck, determination and prayers (yes a lot), we eventually made it. There is no secret about it. You work 24/7 and you stay focused until you get to the finish line.

Multi-tasking and training on new software were key to polishing the film. It was a great way to cut costs and gave us more freedom and independence in creative decisions.

Writer-Director Tuyet LE talks about making PATIENT 17

Question : How did you come up with the concept for PATIENT 17 ?

Tuyet : I love spooky movies and thrillers . I worked on the twists and did research to get the facts right.
I also made this film because I have seen what domestic violence does to people and their families, how it ruins lives.
I have seen too many wasted lives. I wanted to offer the audience a different approach and hope they find it useful.

FLASHBACKS

The first sequence was designed by Japanese V.J. Dygoro Sasaki who used close ups of drops of water mixed with images from the filming of Patient 17 and images he created from scratch. Mixed with the sounds, the flashbacks are the strongest scenes in the film.

LOCATIONS

We were very lucky and privileged to be given permission to use the newly built premises of Barking and Dagenham borough, which has built amazing locations as part of their regeneration and Olympics plans. The locations were new architectural designs.
As Patient 17 was a low budget, we had to work around the schedules of big organisations working there. Filming schedules were outside office hours mostly.

COLOR GRADING

Color grading, compositing and visual effects have been added after the rough cut was locked.
For certain scenes, we isolated an unwanted color and replaced it with a more appropriate one to give the right mood and feel.

SET

Art directors Saba Chai and Riffat Ahmed designed a series of sets for Patient 17, ranging from a stylish squat, to hospital rooms, to intriguing places that hide clues for the audience.
By building what was only seen by the camera, they saved on money and time, we needed only 3 walls, the 4th is behind the camera.

Question : What was the best part of making the film ?

Tuyet : It was great to meet Kim Noble, the British artist who has 14 personalities. Meeting her seals all the work I have done prior to making the film. It was great to learn how amazing the human mind is, how it copes with the most traumatic experiences in life. But the greatest lesson I have learnt is about love.

I am also proud of our multicultural team made of over 20 different nationalities, which gave a unique value to the film.

I am grateful I met talented and kind people who have a great attitude to work and to life.

And lastly, I love it when the audience jump from their seats sometimes. I'm sorry but I'm like a kid waiting to surprise people...

NONAME CHARACTER

His trademark is an original outfit with dark colors blend designed by Costume designer Enda Kenny and a special effect make up of burns and scars on face and body. Make up by Claire Quick. No Name is played by actor Matthew Chambers.

ON JADA

2 hours of special effect make up by Natasha Huang on actress Sophie Walton to transform her into a disfigured character with a mix of facial scars.

CASTING

Casting was done closer to filming. We received over 2500 applications. After preselection and audition, we selected the actors and started rehearsals.
Given the low budget nature of the film, we looked for actors who were fast at taking direction and understood the constraints of working under high pressure and low budget. We had to get the best results with only a few takes.
We didn't only look for the skills, we also needed a good attitude to work in a team. Respect for other's work and staying professional at all times were very important.

Shane O'SULLIVAN on PATIENT 17

It has been amazing to see the evolution of this project from the very early script to the final graded and mixed production. I was attracted to the project by Tuyet's highly inventive and disturbing short film, Ynomitset Ym and she has continued to develop her vision and style as a director in her debut feature.

The film brings together some of the most promising new talent in London, in front of and behind the camera, and explores the dark side of human nature in a fresh and distinctive style.

DOCUMENTARY

While we were filming Patient 17 on set, Making-Of director William John Shepherd and director of photography Remik Szpineta filmed the interviews with British artist Kim Noble at one of her art exhibitions in London.
Patient 17 is a massive enterprise. It comprises the feature fiction 'Patient 17' and the short documentary 'Painting with 14 personalities' that were done together, filmed at the same time and edited one after the other.

Sponsored and supported by

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