Short Film - Treatment, Proposal & 3 Act Structure

 For my idea I was inspired by psychological thrillers and dramas such as Alfred Hitchcock's ‘Vertigo’ and ‘Strangers on a Train’, additionally wanting to incorporate the elusive and minimalistic, and somewhat surreal, aesthetic found within the films of Sofia Coppola such as ‘The Virgin Suicides’.  For the aesthetic of my film, I wanted to achieve a minimalistic however dreamlike state, as the flashbacks are meant to achieve a hazy state as to maintain a sense of uncertainty and not knowing. Similarly, the colour grading in ‘The Virgin Suicides’ was also a point of inspiration. In these films, Hitchcock effectively portrays the themes of deception, obsession and turmoil, with a touch of stalking and plot twists underscored throughout the films but only fully revealed at the end. In my own short film, I wanted to create a similar concept to this, with the twist being underscored throughout Act 1 and 2, however not being fully revealed or the spectator's speculation confirmed till Act 3. A central aspect for my idea is the use of close ups, for which I plan on concentrating on the close up of eyes as a medium to flashback in the film, therefore the use of close ups in ‘Vertigo’ was influential. Framing and the positioning of the characters was an element which was also very important for my idea, consequently I also took inspiration from Celine Song’s film ‘Past Lives’ where the framing of the characters and angles used throughout the film demonstrates, and verbalises in some way, the dynamics and connection of the characters in that moment. Therefore, this use of framing and specifically oppositionnal framing was a core element of the cinematography of my idea as I wanted to demonstrate the unknown connection between the two characters, however also emphasize the space between them and this sense of opposition, using light to further highlight this idea. Finally, for my film, flashbacks were a key technique used to demonstrate the deepening plot and the slow reveal of the ties between the two characters, a source of inspiration being the film ‘Wild’, directed by Jean-Marc Vallee. The silent and gentle turmoil that the character portrayed by Reese Witherspoon was in was perfectly explained through flashbacks, allowing the spectator to empathise with her situation and see her growth. Although the flashbacks for my idea will not be used to demonstrate growth, I do want them to capture, in a tense yet silent way, the context of the situation that the main character is in currently.  

Act 1  

The short film will start with equilibrium being created as the main character (Toni) stands at the train station platform, waiting for her train to Brighton, searching for a quiet escape after a messy night, most of which she does not remember. She will be wearing a shade pink/red top, with a skirt and boots. I will initially film 3 short shots of her standing at different station platforms, as this part will be a more reflective sequence where she looks upon her behaviour and how she feels. At the 4th shot there will be a figure standing at the back of the shot, wearing a certain colour top, however since this is the beginning of the film spectators will not know the importance of this. The 5th shot will be of her at the platform, finally getting on the train.  When she sits on the train, she will receive messages from her friends saying, ‘oh you and Jack looked like you were having fun last night’, to which she will reply ‘who’s jack’. After this, the train is already moving, she will look away through the window listening to her music, at this moment there will be a close-up of her eyes and flashback to the previous night from her POV. The room will be dark, and a door will slowly open, however everything will be hazy, a figure coming in. However just as this happens someone will sit across the seat from her, snapping her out of the flashback.   

Act 2  

This will be when the spectators are first introduced to Jack, although they do not know that this is Jack, only (if they caught it) noticing that the colour of his top is the colour of the top of the figure previously at the platform. This moment will break Toni’s previous solitude as the characters glance between each other, finally initiating conversation when they notice that they are listening to the same song. Light will be used here to show their dynamics, with Jack in the shadow and Toni in the light, a mid shot used to demonstrate this. There will be shots of nature and the characters individually, however the flashbacks that Toni experiences will continue. For example, when a notification appears on Jacks phone, Toni will have a flashback to the room again where she tries to check the time, not seeing much and the figure creeping further. The train will then arrive at Brighton and the characters will get off, first going separate ways, however then Jack will come back asking Toni to walk with her.  

Act 3 

As they are walking together, and the flashbacks continue, the spectator will become more aware of who Jack actually is, and how all of this was premeditated, he wanted to find her and follow her onto the train. However Toni being unaware, they will continue to walk and talk, however their speech will be muted by the sound and music. Finally, as they're approaching the beach, Toni will trip over a rock, falling over and Jack falling as well as he tries to catch her. This will be the final flashback where, once he has fallen, there will be close up shots of their eyes and Toni will have the final flashback where the figure in the film becomes clear, clearly being Jack, and the film will end with him saying ‘Toni’. There will be ambiguity surrounding this ending as it will not be clear whether he was saying her name the night before at the party, or in the current moment, either way they will not have exchanged names. Possibly a final shot after this in which the characters are lying on the floor, camera backs away from a bird's eye view whilst the song ‘Eyes Without a Face’ plays.  

Echo (2013)

 Echo (2013) directed by Lewis Arnold is the story of a young girl, who after getting a phone call, is alerted with tragic news regarding her father, a trauma which she appears to be reliving and abusing. 

Narrative ambiguity 

The film's lack of adherence to a 3 act structure results in significant ambiguity surrounding the sequence of events and consequently flexibility, the beginning could be the end or vice versa. If that was the real phone call, it could then show her repeating the phone call (the normal start), and then finally, the argument with her mother and her brother in the garage (usual middle). However, if arranged in this structure, this would be less engaging of an arrangement, and the name 'echo' wouldn’t fit as there'd be no sense of echoing because the story would unfold linearly. 

Due to the narrative ambiguity, the spectator is therefore also left to debate which parts of the film are real and which are products of the girl's mind. The story unfolds in a way that blurs the lines between memory and present experience, creating a sense of disorientation.

The ending is also highly effective as, being open ended, we as the spectator don't know if the main character will continue in her escapade or stop. It is satisfactory in a certain way as the sense of ambiguity and uncertainty allows the spectator the space to question and think, somewhat reaching their own conclusions and endings. However, it could also be argued that the ending is moreover unsatisfactory as it raises more questions than it answers, consequently truly depending on the viewer experience that the spectator wants.   

Cinematography 

In terms of the cinematography, close ups are utilised throughout the film to depict the main character's emotional range and volatility, how she can go from distraught whilst reliving the tragic incident to calm once shes left the scene. Therefore, the cinematography and variety of shots are essential in effectively portraying the film's emotional landscape and hidden complexities. 

The use of dull and muted colour grading throughout the film is also essential in creating this aesthetic and tone of tension, vulnerability and a disorientation of perceptions. The palette is dominated by cool tones and greys, which reinforce the sense of isolation and emotional distance experienced by the girl and her surroundings, whether it be her family or the public. 

Mise en scene 

Mise en scene components are also carefully crafted to reflect the girl's psychological state and sense of being stuck in living in a certain experience / trauma. The settings she appears in are often dimly lit and confined, such as her room and outside her house. However these sets contrast with that of the streets where she's lost within the chaos of people, seeking solace but still isolated.

The use of costume is particularly important when it comes to exploring the sequence of events as throughout the film the girl appears in her school uniform, this is until the last scene where she's wearing other clothes, therefore singling it out as an event of significance, maybe the event that started it all. 

The main character 

The spectator has a conflicted relationship with the main character throughout the film, ranging form a constant theme of sympathy for her situation to moments of confusion as to why she's reliving and exploiting this experience in such a way. The initial waves of empathy are replaced by shock once the spectator realsies that the girl is lying about her situation to the strangers, however as the psychological depth and understanding of the film increases, we come to realise the truth of her situation, and how its not so much that shes ‘lying’ or ‘scheming’ that she's ‘reliving’ the trauma of her memory. In her own way it appears that she's trying to process her trauma, or even relive it as she can't imagine simply moving on without paying her respects or holding on to it constantly. 

Slap (2014)

Slap (2014) is a short film exploring the world and dynamics of teen boxer Connor who has the dual identity, exploring his femininity in private whilst being portrayed in hyper-masculine manner in public. The distinction between these identities are amplified by his environment, the separation between them soon dissolving. The film explores the themes of truth, acceptance, courage and the conflict between one's inner identity and external presentation. 

Cinematography 

In terms of the cinematography, the director's use of close ups delicately portray the micro expression and inner conflict experienced by the main character of Connor. This, combined with the long take, allows the spectator to fully empathise with his situation, attempting to fully grasp the difficulty of having to hide one's identity due to the lack of acceptance and understanding in his own community and family. In contrast, the use of a wide shot as Connor leaves his home, having dressed in his feminine attire, towards the party appears in a different light, one of courage and boldness, a sense of power almost encapsulated in the shot. This contrasts with the shots of him boxing as the mid shots capture him in a  more aggressive light, allowing the spectator to observe his face and behaviour as he trains or fights other boxers. The cinematography and movement of the camera at times appears reactive, almost in a handheld manner with loose framing. 

Mise en scene 

Props are utilised in the film to present societal archetypes, emphasising the perception of masculinity and objects which appear associated with masculinity. Through the use of props in the film, Connor is presented as a heteronormative even hyper masculine man as there’s the presence of condoms in the bathroom, magazines and posters of porn in his room and even the household calendar is of firefighters, a typically heroic masculine symbol. 

Conversely, in terms of the costume, especially when on his own, Connor is presented in feminine clothing, often a dress, consequently expressing his inner femininity and how the props may be used, by him as well, to combat and suppress this. Within this, the distinction present within Connors outfits while alone versus when surrounded by members of his community further emphasise this masculine ideal that he has to abide by, and how once he almost joins the lines between these two worlds and forms of presentation (at the party), his world and sense of control over his life and acceptance begins to unravel and transform.  

The set is also highly relevant to the themes addressed in the film, acting as a backdrop or somewhat symbol of the conservative attitudes adopted by certain communities in the UK and globally. Geographically, he appears to come from a northern industrial suburb in the UK, who traditionally have conservative attitudes to men and masculinity and are more small minded, therefore posing a greater risk associated with Connor’s situation. As a result, this demonstrates how in their small community, representation and expression may not be accepted or valued, which is reinforced by the guys chasing his friends and his friend's reaction to him having been ‘dressed up’. Aesthetically, this creates a tone of entrapment and containment, making it appear as if there is truly no other place, other than within himself, for Connor to experience himself as he wishes.

Performance 

In terms of the performance, a critical moment in the short film which fully explores the sensitive themes and fears present is Connors confrontation with Lola. The use of physicality and expression in this scene perfectly captures the immense vulnerability and conflict that Connor is experiencing, the range of emotions depicted as well as the moment of realisation where Lola accuses him of having taken her makeup creates a raw divide between them, a contrasts from their previously united presentation. Connor's softer tone contrasted with Lola's more powerful and dominating voice in this moment further amplifies intensity of this situation, how Connor, in his heart, wants to express himself in a more feminine way. The ambient sound also halts in these moments, the spectator fully focused into the unravelling of the plot. 

Lighting and colour 

The use of colour highlights the separation and distinction of Connors' two identities and experiences within the film. The general colour palette in the film which appears more dull and muted contrasts with Connor’s presentation and look when, for example, he’s done makeup. This therefore could be coded as him trying to escape from this greyness, and how he does not belong in that grey area, he himself inclined to be more vibrant. Colour is also sued to underscore the tone of the scenes, with the use of colour during the fighting/confrontation sequences appearing in red, connoting the danger of the moment and sense of threat, and the lighting in the bathroom at the party appearing green, connotation at how sick the characters feel in the moment. 

Use of visual motifs 

The use of the motifs of Connor's hands are used to demonstrate his current state and identity. When presenting as his inner more feminine identity, his hands appear fluid and movement flowy, there's almost a gentle vulnerability to his motions. In contrast to this when adapting to his ‘boxing’ persona, his moments appear solid and aggressive, his hands guarded and clenched. This further reflects his internal landscape whilst experiencing these identities, his fluidity in his inner identity reflecting the peace he feels when expressing himself as such, highly conflicting with the conflict he appears to be under as he feels forced to depict himself in a certain way for the acceptance of his friends, family and community. 

Similarly, the visual motifs of mirrors and reflections are also utilised throughout the short film to depict his dual identity. Once the mirror in his room cracks, this portrays the reveal of his identity, a situation which could pose as harmful towards him as although he himself is comfortable in his identity, this comfort does not extend to his surroundings, consequently making it uncomfortable and an uncontrollable environment once his identity is revealed to his surroundings. Consequently the cracked mirror reflects the situation, how his friends have found out and he feels a lack of control over his identities bleeding into each other. Overall, i found the film very effective and significant as it’s exploring a topic which is the reality of many individuals daily. 

Over (2015)

 Over (2015) is a short thriller directed by Jorn Threlfall which depicts the story of an incident, which we later learn is a death, occur in a London neighbourhood. The film is depicted in a non-chronological order, consequently making the spectator question and think, attempting to figure out what is actually happening amongst all the ambiguity, all of which is revealed at the end.  

In terms of the cinematography, the majority of the film utilises wide shots, with monetary mid shots or close ups which offers us insight into what is actually happening in the film. The initial use of an establishing wide shot to set the context portrays the neighbourhood in a quiet and calm manner, a car pulling into the street whilst everything is consumed by darkness. This is repeated in the next shot where it is morning and another car pulls in, a couple getting out and the woman approaching the grass, hinting to the spectator that a death has happened due to the presence of flowers on the grass, shown in a mid shot with a shallow depth of field, therefore emphasising its significance as the spectator is directed to look at them. The camera then cuts to t4he next shot, wide shot, of a figure dressed in neon orange cleaning the front of the car, the initial ambiguity of this shot is soon dispersed as the camera cuts to a close up of the pavement, a red liquid which we assume to be blood, being washed away by the cleaning hose. This suggestion of a crime / murder / death occurring is further elevated in the next shot where there is a sequence of close ups of a person's clothing and shoes, their muddy and worn out condition contrasting with the simple wood background, the sanitary packaging reinforcing the sense that something has happened. This abrupt cut is extremely effective as it contracts with the previous natural serenity, the leaves blowing, therefore engaging the spectator in the story. There is then a short blurred shot of a body bag and a cut to police searching the small garden in the neighbourhood, a sense of quiet being re-established after the sounds of the bodybag. This long take of the police and forensics allows the spectator time to observe and think, still unsure of exactly what has happened. The sequence of mid shots of the persons inventory items placed together triggers a sense of deep empathy within the spectator, as still unknowing of exactly what has happened, the loss of a life is always upsetting, with the family photograph emphasising this. The long take close up of the family photo reiterates this. Then the camera cuts back to the neighbourhood, the time being (presumably) before the incident, a flashback, and incredibly unexpectedly a man falls from the sky, a plane passing above the neighbourhood. There is a lack of chaos in this scene, as well as the rest of the film as a car alarm starts blaring yet when the owner turns it off everything is once again silent. 

In mise en scene, there are very few props within the film, however those present carry a heavy significance. The set being a Lonodn neighbourhood in West Kensington creates a sense of naturalism and reality, all appears to be normal, mundane in this environment. However, once introduced with the props of the flowers, there is a clear connotation of death, as they almost act as a memorial site on the side of the street, the woman exiting the car therefore could be argued to be paying her respects. In the cleaning sequence, the bold orange outfit as well as the mask of the man implies that he's handing something sensitive / a contaminant, therefore acting as a first indicator that something truly bad has happened. The following sequence of the items of clothing inside sanitary packaging taken for what appears to be inventory contrasting with the wooden table background highlights the personal items, the scarcity of the table allowing the spectator to fully concentrate on the outfit, trying to decipher exactly what has happened. The items of clothing being simple also puts forth the idea of how anything can happen to anyone, bad things can happen in ‘normal’ places to ‘normal’ people. Towards the end of the short film, the police costumes contrast with the dimmed and dull environment of the neighbourhood, making them and the incident stand out. The close ups of the bloody gloves and balaclava once again makes the spectator question what has happened. A murder? A robbery gone wrong? A death? These props also contrast with the plain background. The following sequence with the victims personal items on the table evoke a sense of deep sympathy within the spectator, this person had a life and a family, they were someone's son. 

In terms of the sound, the film utilises diegetic sound effectively to create a tense yet somewhat serene yet disturbing atmosphere in the short film, the only use of non-diegetic sound being during the credits. The use of silence emphasises the diegetic sounds such as intentional atmospherics of cars, planes, police radios, leaves swaying or birds chirping throughout the film. The lack of chaos and extreme sound, other than in some close ups such as that of the body bag shot or cleaning hose, create a disturbingly calm environment in the film, a silent chaos almost. Even when the man's body crashes onto the car, it isn't very loud, and the car eventually stops beeping the neighbourhood becoming once again engulfed in silence. Thinking about it now, this use of silence could also reflect how the man must have felt, daring not to breathe or make a sound as he tried to make it to his new life. 

Finally, after the last shot, all is explained and the ambiguity disappears as a blank screen states that this is the true story of who tried to come to London Heathrow from Angola in 2012 and fell to his death as the plane began ascending is explained. The day after his 27th birthday. This alongside the song of ‘Somewhere Over the Rainbow’ playing during the credits is strikingly heartbreaking. This is by far my favourite short film out of the ones we have studied as it is not only visually striking and executed, however has also most definitely affected me and made me think the most.

The Operator (2015)

 Operator, by Caroline Bartleet, is a short drama which takes place in a call centre where one of the operators receives a call from mother, Gemma, who is stuck in her house with her son, caught in a fire. 

The short film begins with a blank screen and an operator picking up the call, the camera then pans across the different operators in close up, the diegetic sound emphasising the tense and chaotic environment that is established in the shots. The use of sound is particularly effective as once the camera cuts to the main operator who we follow through the film, the sound from the phone call is increased, making the spectator better able to follow their conversation and engage with the film. The use of a shallow depth of field combined with the camera establishing a more extreme close up shot also allows for the spotlighting of their conversation, moving in closer as the intensity of their call increases. Throughout the film the use of diegetic sound is used to heighten the overwhelming and stimulating atmosphere curated, aiding in the film's dramatic effect as all of the off-screen action is demonstrated through this use of sound, whether it be the phone calls or the accompaniment of unabating typing. However this is until the main phone call where all the off-screen sound of the busy call centre is muted, the spectator fully concentrating on the operator call with the woman. As the spectator is fully engaged with the call, when the sound is cut off and a ringing effect is used whilst the operator repeatedly asks ‘hello?’ to see if the woman is okay, this further elevates the tension within the scene, the spectator unknowing whether something has happened or the call just got cut off. The use of a long take maintains this curated tense environment. 

Once the call is over and all has been resolved, the sudden moment of silence in close up, however less close up than before, where the operator has a moment to breathe demonstrates the intensity of her  day and occupation, making the spectator empathise with her and how consuming these calls can be. Finally, the diegetic sound resumes, the operator continuing her day. The use of lighting and shadows also accompanies this disquietude state in the film, the dark shadows of the operator's environment and face contrast with the bright lights of the screen. Overall i found the film very engaging, the long takes and close up especially fully immersed me in the film and storyline.

Tight Jeans (2012)

 “I think sometimes laughter is the best way to talk about serious issues, because it stays in your head longer. Dramas are great and I’d like to do one, but at the moment I’m loving laughter.” 

Tight Jeans (2012) directed by Destiny Ekaragha is a light comedy that addresses wider topics and attitudes towards individuals from different cultures and experiences due to differing identities. The three friends address these topics in a very comedic manner, attributing many of these differences which tie in with racial tensions and divides to somewhat comedic sources. The film expertly explores the ignorances we can hold inside as the boys notice a white guy walking in skinny jeans as they wait for their friend, which prompts them to ask “how can a man wear jeans that tight?”, leading to further discussions.

Mise-en-scene

The characters are largely shaped by the use of mise-en-scene, in specific, costume and style. The initial shots of the market environment and use of vibrant colours creates an engaging and diverse landscape, the range of shots being used to show the variety of styles of clothing present. Even these establishing shots are used to convey the importance of style and clothing, and what one's fashion choices can say about them in broader cultural, socio-economical and political ways. 

In the shot of the 3 black teenagers, first there is a close up of their shoes, Nike trainers worn by all of them, consequently showing how they are together all being youths in the black British community. Through this, Ekaragha conveys how their similar taste in shoes , jeans and hoodies is a symbol of their shared racial and ethnic identity, further leading on to how they might also share similar opinions. 

This use of clothing as a medium through which to represent differing identities is further reinforced by the tracking shot of the white character wearing skinny jeans, demonstrating that he is separate from the group, and instead in his own white British community and experience, his ‘tribe’ is different (emo). His converse, tight jeans and zipped up dark hoodie as well as band tshirt are all intentional choices. This being the medium through which dialogue arises in the group of friends, as to why these differences exist. 

 

Dialogue & Subtext  

Dialogue is used in the short film to address  wider topics concerning race, history, slavery and attitudes towards individuals from different cultures that arise due to these elements. The short film encompasses a conversation stemming from what wearing tight jeans says about an individual, leading to further discussion as to why white people are able to wear tight jeans and black people are not, the characters attributing this to anatomical differences in the sizes of their ‘package’. 

This initially comedic conversation,although maintaining its essence throughout the short film, addresses serious matters such as slavery and sexual politics in a light manner. The young man in the striped orange hoodie argues that slavery originated due to white men being threatened by the masculinity and anatomical superiority of black men, afraid that their wives would leave them for the other. Although mostly incorrect and light-hearted, they still address the subject matter and subtext in an engaging way, making it more memorable for the spectator. The character in the blue hoodie also states that he does not like and would never be with a white woman, a statement which is argued to be possibly racist, however his justification of white women wanting black fathers for their children as to have a mixed race baby contains truth to it. Similarly, the statement of how lots of people have roots in Africa due to civilization starting in Africa is also a seed of truth, ‘we populated the whole planet’. 

Sexual politics are also relevant for the dialogue and structure of the film. Destiny Ekaragha having written and directed tight jeans as a young black woman makes the reasoning present within the short film much more satirical, however had the writer and director been a young black man, this could have been a more literal interpretation of events. Just some food for thought. 

Comedy: Can you make a serious point using comedy 

Although the short film is structured around the young men having a conversation around the size of their ‘package’ and its ties to historical events and realities, which does create a sort of ‘nonsense’ element to Tight Jeans, creating a comedic tone where the spectator is both laughing with and at the characters (due to the nature of the screenplay being by a young black woman who has probably been exposed to many a conversation like this before), there are also serious elements of truth to their conversation. Consequently, I believe that comedy can be used to make a serious point without stripping the point of any validity or significance. For example, even when one of the boys argues that slavery was due to having ‘bigger dicks’, there are ties with slavery and anatomical differences, therefore serious subjects being explored in a comedic way. Ultimately, the film does contain socio-racial-economic truths, little moments which highlight actual issues, the comedic explanations making you think about it longer. 

My Favourite Character

 Jason ‘Furious’ Styles 

As my favourite character, although i have a variety across different genres, i chose Jason ‘Furious’ Styles (played by Laurence Fishburne) from the film Boyz n the Hood (directed by John Singleton),who is the father of Tre Styles and seen as a responsible, wise and disciplined figure in the Crenshaw community in South LA. 

Applying the things we learnt about Vincent Vega to Furious Styles, in the film he drives a very simple yet distinct red beetle car (i think), consequently displaying the consequences somewhat of his earnest lifestyle and honest choices as his car is less innovative or ‘charismatic’ than those in the film such as Dough Boy who drive chevrolets. 

What i believe he would order in a restaurant, would be a steak and fries, medium or burgers, fries and peas, as his character emphasises the importance of a healthy and honest lifestyle in achieving one's goal as well as his position as a authoritative ‘masculine’ father-like figure which i believe is somewhat connoted with the use of meat.

Finally, I would say that being the intellectual, political and still young character he is, although the film doesn't clearly define what music he listens to, Furious would appreciate classic soul, R&B, and funk tracks from the '70s and '80s, reflecting his mature and thoughtful character. Including songs by Compton's Most Wanted and Tony! Toni! Tone!.

Similarly, in the film, his costume is chosen to reflect his character's grounded, disciplined, and authoritative nature. Often seen in neat, practical clothing such as button-down shirts and slacks, Furious' attire contrasts sharply with the more casual and sometimes gang-associated clothing of other characters in the neighbourhood. This sartorial choice underscores his role as a figure of stability and wisdom, emphasising his position as a mentor and a father figure not just to his son Tre, but to the community at large. Without even looking at his ideologies or words, this clear distinction of his character through costume highlights his separate position in the film as a resistant character. 

Dialogue in "Boyz n the Hood" further illustrates Furious Styles' ideals and his influence on those around him. Through his articulate and thought-provoking speeches which connect to and address deeper and more complex socio-economic issues affecting the black community, such as systemic racism, economic disenfranchisement, and the importance of self-determination, dialogue is used to highlight his role as a moral and intellectual guide. 

5 things which we don't clearly know from the film however assume/could guess about Furious would be:

1. His favourite book would be The Colour Purple by Alcie Walker + a book on entrepreneurship

2. His perfume would be Davidoff Cool Water

3. His dream house would be a condo in Milan 

4. A figure of inspiration for him would be Malcolm X and Dapper Dan

5. His favourite colour could be teal or pastel green