FILM 6: SCRIPTED MASTER WITH COVERAGE ASSIGNMENT … · 2017. 12. 11. · This director’s plan is...

©2017 Jeff Parkin. All rights reserved. v3.4

FILM 6: SCRIPTED MASTER WITH COVERAGE ASSIGNMENT DESCRIPTION

Shoot a 2.5–3 minute scene from the script of an existing feature film or television show that you have not seen. Read these instructions carefully. You will be accountable for them.

1. This is not a shot-for-shot exercise. Do not watch the original scene. (You will watch the original scene after we have watched your scene in class so that you can write about the differences between your interpretation and the original director’s interpretation.)

2. The scene should be 2.5–3 pages long.

3. The content should be in keeping with BYU standards. Please do not use the Lord’s name in vain. Talk to me with any questions.

4. You must use the actual script of the film—not a transcript. Make sure you have the script before continuing. Talk to me if you’d like to discuss options.

5. The scene should have at least two characters; I suggest you do not use more than three characters.

6. The scene must take place in one location (this means a single room or space–not a bedroom and the bathroom and the kitchen of the same house). You must shoot in an actual, practical location. “Black box” locations are not permitted.

7. The scene must incorporate blocking of both the actors and camera. Do not select a scene of two people talking on a bench, or, worse, two people talking on the phone. The actors must be in the same location and interact with one another.

8. An important aspect of this Remember that this scene is from a larger script. Therefore, you must be true to the entire script. Do not simply shoot a scene for the sake of shooting a scene, or just use the lines but change the context. Your grade will be docked if you are not faithful to the intent of the original scene.

9. Using principles discussed in class, block your actors and the camera to shoot a master shot of the entire scene. Then shoot additional coverage to capture essential moments within the scene. The combination of your master shot and coverage should:

a. Establish the geography of the location; b. Communicate the action (what happens) of the scene; c. Establish the relationship of the characters, both geographically as well as

emotionally; d. Capture the drama of the scene through the use of visuals; e. Engage the audience emotionally and visually.

10. Select at least two of the visual components (space, line, shape, tone, color, movement, rhythm) and utilize the principles of contrast and affinity of these components within your shots to build intensity to tell the story more purposefully.

11. In pencil, create a lined script of the scene, noting how each shot will cover the scene. Delineate size, angle, framing, movement, etc.

12. In pencil, create a director's breakdown of the script for each line and action in the script as discussed in class and in the handout.

13. Bring the finished scene, including all of the coverage you shot, to class on your assigned day. (We may look at some of your coverage through the course of the critique and discussion.)


POINTS Director's Plan: 50 pts Lined script: 15 pts Shot list: 15 pts Director’s breakdown: 20 pts Submit a hard copy of the document below with a lined script, director’s script breakdown and shot list on the date specified in the screening schedule; post these documents to your blog.

PROCESS STEPS Following these steps in this order may be beneficial in your preparation and execution:

1. Print the scene. On paper. 2. Read the scene. What ideas and images strike you? What might be the most important moments

in the scene? Make note on the script—use pencil so you can erase as you get better ideas. 3. Fill out the Director’s Plan. 4. Create the director’s script breakdown to articulate character intentions, actions, etc. 5. Create the lined script to note how you might cover the scene: Where do you see wide shots? Two

shots? Close-ups? (Unless it's helpful to you, don't worry about storyboards—just think about capturing the critical moments of the scene.)

6. From your lined script, create a draft of your shot list (you will turn this draft in). 7. Rehearse with your actors and block the action of the scene. Determine what happens in the

scene. Who goes where? Why? Don't get too artsy or deep just yet! Simply walk through the action of the entire scene, decide what people do, where they move, what they think and feel in the scene.

8. After rehearsing the scene, design a master shot for the scene—one that establishes the geography, covers all of the major action and dialogue, communicates relationships, is interesting, evokes meaning. The master shot might be locked down, or it might move on a dolly or Steadi-cam or be handheld. But ideally it will capture most everything that happens in the scene. (In rare occasions, you may need two masters...but try not to if it's not absolutely necessary!).

9. Using your lined script and first draft of your shot list, and referring to your blocking, revise your shot list. Have you designed your coverage purposefully? Consider: Where will you put the camera to capture the important story beats? The moments of characters thinking, feeling, discovering, recognizing? The thematic beats? What angle and lens will best capture the meaning you want to communicate in each shot? How will you use the visual elements to enhance meaning and build intensity?

10. Shoot the scene. (You will use a sound person for this scene.) Follow your plan. Relax! Watch and listen purposefully. Do you believe what you’re seeing and hearing? If not, how can you improve and move towards truth?

11. Edit the scene. 12. Bring the finished scene to class. On a separate drive or your computer, also bring the coverage

you shot to class on your designated screening day. We may look at some of your coverage through the course of the critique and discussion.

Do not turn in this assignment description.


NAME: ___________________________________

PLAN DUE DATE: _________________________

DP: ____________________________

FILM 6: SCRIPTED MASTER WITH COVERAGE DIRECTOR’S PLAN

This director’s plan is designed to train your mind, eye and heart to shoot purposefully. Prepare it well before shooting. Briefly—but thoughtfully and specifically—answer the following questions. 1. Fill out the Director’s Schedule Worksheet and attach it.

2. What film or TV show is this from? Eternal Sunshine of The Spotless Mind (2004)

a. Have you ever watched this film? No

b. Do you have the actual script of the film—not a transcript? Yes 3. The world of the story:

a. Where does this story take place? Long Island, New York

b. In what year does this story take place—be as specific as possible 2003

c. In what month or season does this story take place? The script covers the span of 2 years. This scene and most of the key elements of the narrative are happening in February.

d. Briefly describe the world and its rules: location, time period, historical context (if this takes place in the real world, include some major world events of the time), social dynamics, anything else that might be relevant

This is essentially Modern America, though it is around the time of 9/11 (Tonally that plays a role I’m sure, but it is never brought up). Long Island scene at around the turn of the 21st century. Grunge and rebellion are in style. We find ourselves in an America that wants to forget the trials of the last several years. 4. For each of the major characters in this scene:

a. What is their full name? b. How old are they?


c. Give a brief descriptive biography of these characters (what they look like—if it’s not in the script, what you think they look like, what is their personality, what is their inner life, what are some insights about their growing up, etc.):

FULL NAME AGE DESCRIPTIVE BIOGRAPHY (see above) Joel Barish 30s Sallow, a bit puffy. His hair is a little messy, his suit is either

vintage or just old and dirty and sort of threadbare. His bright tie has a photograph of a rodeo printed on it. Shy and nice. Nice being the key word. Insecure and timid, but gentle and loving.

Clementine Kruczynski 30s Zaftig. Bright blue hair and wearing a bright clementine sweater. Rash and quick. Loves her freedom and is afraid of being alone. Very reactionary and jumps before she looks. “A f-up’d girl” in her own words. Sensitive and sweet.

5. After reading the entire script, in 3 sentences, what is the story of the entire film? After a heated argument, Clementine decides to complexly wipe her mind of the memories of her boyfriend Joel through a new type of brain treatment. Joel, out of anger and deep hurt decides to do the same. As his memories are wiped, his relationship with Clementine flashes before his eyes, all the while discovering and rekindling his love for her.

6. After reading the entire script, what is the theme or message of this film? (The theme is your

personal opinion or point of view on what this story means. It is not a single word. It takes a position.)

Love finds a way, even when faced with the awful reality of human imperfection and the pain that people can cause each other. 7. In 3-5 sentences, what happened in the story immediately before your selected scene? Joel is getting on a train and reminiscing on his life and the past 2 years which seem empty to him. A girl with bright hair catches his eye and she (Clementine) engages him in strange and quirky conversation. After the train arrives at the station Joel notices her walking alone and offers her a ride to her home and she accepts after some playful banter. They talk in the car a little and arrive at her place and she invites him in for a drink. 8. In 3-4 sentences, what is the story—the beginning, middle, and end—of this scene? In other

words, what specifically happens as the scene starts, as the action rises, and as it ends? The scene begins with Joel alone and Clementine talking off screen in the kitchen (She is a big talker, and Joel isn’t as much). Clementine walk in with drinks and notices Joel looking at a photograph of two ravens. They connect over the photo and the Frost poem on the back. A sexual tension is felt slightly as they talk and Clementine relaxes and becomes a bit more comfortable, downing her drink quickly while Joel seems little uncomfortable. The scene ends with them both awkwardly sitting next to each other, not quite bridging the gap though they both are getting there. 9. How does this scene develop or advance the plot? This scene establishes the interesting nature of Joel’s and Clementine’s relationship. It seems awkward and not right, but they are both drawn to each other. This is crucial to the plot as the two before this had dated for two years though they don’t have memory of it because it’s been wiped. In this scene, the viewer sees how the two have such an emotional connection that is unique and a little awkward initially.


10. In a bulleted list: How does this scene impact the characters? Do they change? Why or why not? How?

• Joel is forced out of his comfort zone by Clementine as he is invited in and talked to in an

unorthodox fashion • Clementine is struck by someone gentle and nice, something she is not used to • Joel and Clementine become more comfortable with each other as they connect on an

emotional level • Joel is stuck by something he has not really ever experienced before, that is a quirky

spontaneity.

11. What specific story or character details must be clear to the audience in this scene in order to understand, remain oriented and engaged in the scene (as well as in the rest of the film)? What specific moments/details must you be sure to shoot in order to communicate each piece of information? WHAT THE AUDIENCE MUST UNDERSTAND WHAT YOU MUST SHOOT TO COMMUNICATE THAT That Joel is very very meek Joel’s joke about Clementine’s caw, which she

misses and he submissively let’s go of Clementine despite be outspoken and brash, is very sensitive

Her interaction with the picture of the ravens and her reaction to the poem on the back.

Joel and Clementine have a similar disposition Joel’s music choice and Clementine’s approval of the song he picks to play

The sexual tension between the two The dialog between the two, but the last line especially when Clementine says “Mmmmmmm. Way to go, Joel. You pick good.”

Clementine is also a bit of a loose canon Her quick consumption of the alcohol and her very loose body language when she slumps onto couch and takes off her boots.

12. Reread what you wrote above for the theme of this story. Keeping that in mind, how does

this scene explore the theme of the film? Be specific. The theme of Love always finding a way despite all the obstacle is in this scene in several ways. The scene establishes in the greater sense how these two could not be kept apart, despite all the pain and steps taken to distance themselves from each other. Within the narrative of the scene specifically, they are attracted to each other despite their different characters and the apparent awkwardness of the whole situation. They both don’t want to leave, and its shows the power of love that the themed is trying to express. 13. What is the progression of emotions that you want the audience to experience while

watching this scene? Why? What, specifically, will you shoot to do this? EMOTION & WHY WHAT WILL YOU SHOOT TO EVOKE THIS EMOTION Anticipation at what’s to come, as these two obviously seem to like each other

Their interaction with the Raven picture. They connect here more than before

Melancholy, specifically about Clementine as she seems to be in a sad place right now

Her talking about Frost and Grade school

Tension, because we aren’t sure about clementine at this point. She seems to be emotionally unstable?

Her nonchalant attitude and her alcohol consumption

Curiosity, What will Joel do about this strange girl, where will this night go?

His picking the music and he and Clementine bonding over it.

Excitement, perhaps they will go all the way tonight. Is this the starts of a great love story?

Clementine sitting down next to Joel and her last line “Mmmmmmm. Way to go, Joel. You pick good.”


14. What is the first image of the scene? Why choose this image?

What is the final image of the scene? Why choose each image? The first image is a wide of Joel standing in a small Livingroom as we see Clementine in the background in the kitchen (she comes in and out of the doorway leading to the kitchen as see gets drinks). This will be a flat image that separates Joel and Clementine. We want them to get along/connect emotionally more but they aren’t quite there yet. The last image will be Clementine on the couch in a very causal passion next to Joel who is sitting not quite as comfortable as her. She has her eyes closed and she is saying her last line. Camera pushes in on the two. The distance between the two in the first shot has disappeared and though they aren’t totally enthralled with each other, we see in Joel and Clementine an amount of comfort not seen yet in the scene. 15. Why is this scene personal to you? What specific personal experience(s) does it remind you

of? As a college kid here at the BYU I feel like these types of movies are right up our ally. I hear people tell of great people and great relationships and the Church is so focused on the whole finding a soul mate, but hold on there is no such things as a soul mate just find someone as quickly as possible, type jargon that love become a goal. It becomes a key indicator. I was at a stake activity, and the stake president got up and randomly assigned me and several other to go on a date with several other randomly assigned girls. What is that all about!? Love can’t wait…but I feel like this movie expresses how love should just happen…God is love, so let God do his thing. I don’t like the idea of “hastening” the work of the Lord. Hasty work is sh**y work. I am rambling now, but suffice it to say, I love the movies slow message of accepting Love and letting it find its way. 16. How should the lighting feel in this scene? Use the most descriptive language you can. Why

should it look like this? You may include sample image(s) (not from the actual film!). I want to light this scene very warm and semi-low key. This is a comfortable and nice place they are in, but I want the contrast a bit high so we don’t feel totally at ease. It’s completely dark outside and the light is coming from practical (lamps and the blue kitchen light). This place is intimate and isolated. The lighting of the apartment in this, not the silhouettes 17. Which two specific visual elements—line, shape, space, tone, color, rhythm, movement—do

you intend to use to purposefully communicate the emotion of the scene and build intensity? (You will be graded on your execution of this plan.) How will you utilize the principles of contrast and affinity of these components to help build intensity to tell the story more purposefully?


1.) Tone – I want to use affinity of tone throughout the piece. I did say I want some contrast, but I want affinity of tone to be between the character and the setting, keeping everything in the middle greys. This scene I want to be warm and confronting, the characters are living in their environment well. Joel will have a little contrast with a dark jacket probably to stand him out a bit more, but I want him to share some affinity as well, to connect him to the place even though he is a little uncomfortable.

2.) Movement – I want screen movement from left to right and vice versa when either character is coming close to the other. When Clementine come out of the kitchen, we cut to a wide of her crossing over to Joel, moving across the screen (flat on the x-axis). This type of movement will communicate their emotional distance and show it being widened or shortened depending on the emotion of the scene.

18. Describe three or four potential obstacles you may face in creating a successful scene.

Describe how can you be prepared to overcome these? Be specific! POTENTIAL OBSTACLE PLAN OF ACTION Getting a bright blue wig or an actress that has died hair already.

I will hit Facebook today and reach out the tendrils. I will also check with the BYU prop place for wigs and such.

Getting a location where I can go pretty wide in the living room

This thanksgiving weekend, I will make a point of exploring option in Salt Lake City and try to find a good hip house to film. Also, I will send out Facebook tendrils

Technically getting the image where it needs to be In my last project, the technical aspect of the camera movement, image, and lighting bogged down the story too much. I want to have a camera test with Stephanie beforehand on this one.

19. Prepare and attach your: a) director’s script breakdown; b) lined script, and c) shot list.

You may wish to follow the process steps in the assignment description above.

FILM 6: SCRIPTED MASTER WITH COVERAGE ASSIGNMENT … · 2017. 12. 11. · This director’s plan is...

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