
MAGIC
Young Harriet delves into the world of magic to escape the reality of an abusive home life, ultimately making the abuser disappear...As if by magic!

And just
for a split second...
she thinks she has
made her disappear
9-year-old Harriet sits on the living room rug watching TV with her two younger sisters, 5-year-old Lilly and 7-year-old Annie. They watch mesmerised as a magician gracefully winds a coin through her fingers until it disappears. They gasp. This moment of joy is interrupted by her mother’s partner, who loses her temper and assaults their mother fiercely. The girls hide in a worn cardboard box, turned into their own little make believe house, acting as their safe space. Harriet distracts them by trying to perform the magic trick they just saw on TV. As their pale faces light up, she discovers the power of this escape.
The arguments continue to escalate, forcing the police and social workers to intervene. And while they think they have gotten rid of their abuser for good, their moment of respite is short lived. Soon Harriet finds herself delving deeper and deeper into the world of magic, to escape the realities of the abuse around her, and to shelter her sisters from the fear and threat that lurks at every moment. She finds a magic book, and escapes into it’s world, the cardboard box unfolding around her, and a warm flicker of light falling onto her pale face.
One day she finds herself using magic as more than just a distraction for her sisters and employs her new skills to fend off their abuser’s attacks. Her well rehearsed tricks come naturally to her, and for a moment, just a split second, she thinks she has made her disappear for good.
MAGIC - the full treatment
9-year-old Harriet sits on the living room rug watching TV with her 2 younger sisters, 5-year-old Lilly and 7-year-old Annie. They watch mesmerised as a magician gracefully winds a coin through her fingers until it disappears. They gasp, the glare lighting up their pale innocent faces. A shadowy female figure lurks in the background, hunched over the oven preparing their dinner. Another woman joins her, swaying slightly from side to side. It starts out as a discussion, but soon gets violent. Their shadows dancing on the walls behind them. The other figure lifting her arm up and BANG, the mother falls to the floor and the kids disappear into the darkness. Finding safety in an old worn out cardboard box they have fashioned as their own little house. Harriet tries to distract her sisters from the arguing that goes on behind them. She finds a little plastic coin and tries to perform the trick they had just watched on TV. As their pale faces light up, she discovers the power of this escape. The next day, Harriet sits on a concrete wall, her sisters playing in some dirty puddles. She suddenly spots something glinting on the floor and walks over and picks it up. Its a small 2 pence coin and she immediately tries to twist it around her fingers, just as she did last night. That night, the girls huddle terrified under the sheets as they listen to the fighting that is going on next door. Harriet tries to distract them with her new magic trick, and they soon become engrossed with what she is doing. Their faces lighting up as the coin disappears into thin air. Another day and we spot Harriet sifting through the cabinets and cupboards, her face lighting up when she finally finds what she is looking for; some old worn out playing cards. The arguments soon escalate, forcing the police and social workers to intervene. Harriet and her sisters sit solemnly at table. Their mother battered and bruised, her lip too swollen to even speak, her arm in a cast. As the social worker leaves they sit in silence, everyone affected by what has just happened. Harriet walks over to her mum, taking out the pack of worn cards and starts to perform a trick for her. But her mother is struggling and soon snaps, leaving Harriet bruised and dismayed. While searching through her toys, Harriet comes across an old discarded Magic book. She opens it in excitement, slowly flipping through page after page of magic tricks, taking them all in. Their moment of respite is soon interrupted by the appearance of the shadowy figure reappearing, grovelling back to their mother, who willingly takes her back. As Harriet and her sisters try to sleep, they are awakened by loud drunken noises from the kitchen. The adults enter. They seem happy at first, laughing and chatting. But things soon turn, and before they know it, their mother is pushed to the floor, hitting her head and falling unconscious. Harriet watches all this through a gap in the door. And starts to panic when she notices the shadow approaching their room. As the other two sisters hide, Harriet desperately tries to distract her with her magic tricks. Her mother suddenly wakes up, and drags the two sisters to safety while Harriet continues to distract the dark figure, picking up the phone in the process. She begins her magical act. Moving from one trick to another, not risking a moments breath in fear of loosing the shadows attention. She is the magician on the TV, a confident, capable young woman able to hold the room while she gracefully works through her tricks. She is giving the performance of a lifetime. She edges forward, forcing the drunk and disorientated shadow back towards the entrance. Her mother is on the phone with the police, while edging towards the front door. Harriet reaches her finale - grabbing an old blanket from the sofa and racing up to her, throwing it as high as she could. At that precise moment her mother swings the front door open, with the police waiting on the other side. They grab the dark shadowed figure, dragging her out of the building and away from the children. Leaving Harriet and her family to watch as the blanket hangs in mid air for a second. It falls on to where the abusive figure once stood, now it is empty. The two younger sisters and her mother encircle Harriet as they stand defiantly looking out at us, the dark shadow in their lives finally gone, as if by magic. BACK UP TO MENU
DIRECTORS STATEMENT
MAGIC AS A FORM OF ESCAPE



Inspired by the social realism of Andrea Arnold’s work in ‘Wasp’, and Innaritu’s Magical realism work in ‘Birdman’, ‘Magic’ is meant to be a film of contrasts - the threadbare existence of a family coping with the constant weight of an abusive figure, but still managing to escape into another magical world. We plan to film in black and white to add texture and truth to their existence; painting a stark, disconcerting existence. But in those moments of escape, our girls will be transported to another world filled with colour, where anything is possible.
I want to evoke memories of childhood when we believed in magical possibilities. That is the emotion that I want to bring to this film. I am constantly reminded of this sense of possibility through my own children, through the conversations I have with them, their unquestionable belief in the stories and make believe situations that make life that much more exciting. The black and white theme also plays on the question of what is real and what is the dream world. We dream in black and white, and live in colour, but for Harriet, her belief is so strong, they revert on to themselves so the dream world is her reality, while reality is only a nightmare that will soon stop existing.
Light and animation will play a major role in capturing this sense of escape. Introducing flickers of hope when Harriet begins her journey with magic, using the safety of her cardboard box to hone her skills and break from her reality. I also want to connect with the history of magical performance, using directional light as a way to evoke the theatrical lighting of old magical shows. This will also help in telling their story through their perspective. We want to make sure the focus remains on the children, therefore any adults that appear are seen through their POV, distorted, looming over them, their shadows creating angular shapes on the walls behind them. This will reinforce the nod to the old theatrical magical shows, as well as force us to see things from their perspective.
Texture will also be seen through the animated stop motion origami animals that will appear in Harriet’s imagination. Made out of the same material as her cardboard box, they will add a tactile quality to her imagination. I want this film to act as a stark reminder of what some children in society go through and to give them a voice, to champion the power of their imagination, and their ability to adapt and come out the other side. It is also a story that truly encapsulates what film really means to me as a filmmaker, escaping into worlds filled with possibilities and the magical ‘What if’s?’.
This will be the first short film that I have also written. For years I have relished the collaborative and trusting relationship between the Director and writer, but I realised that while I am proud of each and every film I have made so far, none were close enough to really encapsulate the kind of stories I want to be telling. For the first time I will be directing a film that I have also written, a film that truly represents my voice, allowing me to showcase the kind of films, and scripts that I want to be developing in the future. Films and stories that delve deeper into the emotional and psychological journey of the characters, and find new ways to represent those inner workings, those thoughts and feelings that we don’t reveal to the outer world, through the power of moving images and practical props and textures to retain a realist quality to the work.
Animation & Magical elements
We wish to create a film with texture, creating a tactile quality to it - embracing the realist threadbare existence of Harriet’s world. We want to emphasise how limiting and isolating her world is from the outside world. Therefore everything has to come from what she sees directly around her - including the objects she finds in her imagination.
We also wish to include a link between her ‘safe space’ and the objects in her imagination, therefore directly connecting the two as her means of escape. The magical world will be created through origami puppetry - developed through stop frame animation, but created in the same kind of cardboard texture that her and her sisters’ box is made from. This will be the direct link to their real world, allowing Harriet to build her imagination from what she sees around her. This will create the sense of imagination and possibilities without breaking out of Harriet’s enclosed world, bringing the realist limitations from her real world back to her imagination.
After having initial discussions with a working magician, we have decided to stick to this small enclosed world, referencing objects, textures and materials that can be directly found in Harriet’s apartment. Therefore old toys, plastic necklaces, fake plastic coins will be used instead of real objects. Again we are emphasising the limitations and existence of Harriet’s family, so there will be no frills, no expensive toys or objects to be used. It will all come directly from what she finds around her. As her own self belief in her ability as a magician begins to develop, the objects become more ambitious and luxurious, almost out of place in the world she is in. Her imagination will slowly start to expand, outside of her own family home, symbolising her growing belief in herself and her magical abilities.
The final choreography will allow her to swap plastic coins to real ones, incorporate light sparks and flourishes as she makes ugly, torn objects disappear, and finally bring an end to the person that has made her and her family’s life so difficult over the years. That sense of belief and hope that we see in her personal growth, becomes embodied in her magical tricks, allowing us to see her blossom and realise her full potential.
Our Team.
We have built an amazing team of talented crew, who are eager to get going and make this the best possible film it can be. Click on each image to view a brief bio for each of our HOD's.
every element will have its purpose
We currently have £2,500 which will go towards casting and location. The funds we hope to get from the Kickstarter campaign will go towards food, crew, art department, the all essential magic choreography AND origami animation. We will then seek funding for post production through finishing funds and potential investors. We have a meaningful and carefully crafted screenplay, Louise has spent the best part of the Autumn storyboarding and planning every single shot, and the main crew are eager to get going and help us make this happen. We are bringing a new film language to this story, one that is ambitious and will be carefully planned and prepared. But we are confident that once audiences see the results, they will be blown away by the texture, vision and powerful story.
The funding will also cover the costs of:
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Rehearsals for magic scenes
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casting
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Paying our crew
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buying their lunch
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renting equipment
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Post-Production work with top post house
The Kickstarter campaign will be launched in February with the aim of filming in MARCH 2025.