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Life is hard.
Episode Title: ―Typical‖ [1#1]
According to Life is Hard Draft 5
TV Series Pilot Treatment
By
Rowen Smith
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Abstract.
A mysterious incident lands our hero in court ordered Anger Management. Armed with
sarcasm and an extreme lack of self-awareness Sophie navigates her way through this third
world wilderness, as she reveals what has brought her to this point.
First stop: Home Affairs.
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Table of Contents
Part 1: Interpreting the Narrative for Audience Entertainment
1.1.1 Film‘s Message & Purpose……………………………………………...4
1.1.2 Overarching Conceptual Relevance…………………………………......5-7
1.1.3 Overarching Emotional Relevance………………………………………8-9
1.1.5 Subculture and Environment………………………………………….....10
1.2.1 ETB: General, Conceptual and Emotional relevance……………...........11-15
1.3.1 Central Event Problem: Scene-by-scene Breakdown……………….......16
1.4.1 Central Character Problem: Scene-scene breakdown…………………..17
1.4.2 Character Goals…………………………………………………………18
1.4.3. Character Obstacles……………………………………………………19
1.4.4 Goal attainment Strategies……………………………………………...20
1.5.1 Fulfilment: Events and characters ……………………………………..21
1.5.2 Resolution and Resonance ……………………………………………..22
Part 2: Translating the Narrative into the Medium of Delivery
2.1.1 Genre…………………………………………………………………...23-26
2.1.2 Translation Style ………………………………………………………27-30
2.2.1 Floor Plans & Ground Plans(Annexure D)
2.2.2 Staging………………………………………………………………….31-33
2.3 Shot list…………………………………………………………………..34-38
2.3 Storyboard – Digital format : Annexure A (CD)
2.4 Visual Breakdown: Production Design…………………………………..39-41
2.4 Acoustic Breakdown: Sound Design and Music………………………...39-41
Part 3: Dramatic Atmosphere, PD, CMS, Cast, Marked-up Script
3.1 Visual & Narrative Requirements of the Cast…………………………….42-44
3.2 Dramatic Atmosphere……………………………………………………...45
3.3 PD and CMS requirements…………………………………………………46
3.4 Action Requirements……………………………………………………….47
3.5 Shooting Requirements…………………………………………………….47
Part 4 : Dynamic Force of the Narrative Code
4.1 Prose Writing……………………………………………………………….48
4.3 Methodologies of acting styles……………………………………………...49-51
4.5.1 Value change of 3 crucial scenes ……………….………………………..52
Bibliography…………………………………………………………………….53
Annexure A: Storyboard CD
Annexure B: Marked-up Script [ Component 4 ]
Annexure C: Floor plans and Ground Plans
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Film‘s Message & Purpose
With this TV series Pilot. I want to prove to the potential production company that the
narrative is both authentic, original and creative. I want to prove that there is enough
character growing potential and event narrative potential to make this TV series profitable.
I want to give the audience a very entertaining Mockumentary-style TV-drama, that they can
relate to. I want them to enjoy the TV series and the funny and complex characters in it. This
TV series can draw the family to the couch once every week and they can escape from their
daily hardships.
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Overarching Conceptual Relevance
Maslow’s Hierarchy of Needs (LYNCH, Art, 2011)
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“Life is hard” falls under 2 of the 5 categories from Maslow‘s Hierarchy of Needs. (LYNCH,
Art, 2011). The first category is Esteem Needs and second is Belonging/Social Needs.
Esteem Needs
Sophie‘s violent procedures are a form of survival that develops into a divine duty, a
responsibility and can therefore be viewed as productive. One might argue that this
‗productiveness‘ is merely true from Sophie‘s perspective as she feels that she rebels for the
sake of everyone. Sophie is engaged in the struggle for ―authenticity and identity in a social
field‖ (Iocco 2007:47).
Sophie is indirectly and directly struggling with her self-esteem. That‘s why she goes to
regular psychiatrist appointments. In scene 2 at Home Affairs, this is made clear. Her central
character problem is exposed. Sophie is an idealist in a world that she believes consists of
banal mediocrity that lacks the patience or place for a person of heroic ambitions and pure
ideals such as herself. Through her therapy sessions she explores her desperate search for
authenticity in a world which makes it increasingly difficult.
Belonging/Social Needs
The catalyst for action in the narrative is derived from the youthful anguish and frustration of
the protagonist in a society that has disenfranchised her politically as well as culturally.
Thus, Sophie has an internal need for belonging and acceptance. Sophie is the anti-hero and
her angry behavior seems to stem from a sense of alienation from society and from the self.
Although Sophie is an extremist, she is nonetheless a product of her socio-political condition,
yet the narrative is not immersed with societal concerns or solutions, they are merely
apprehended by the protagonist, they do not form the action. Sophie is both a product and a
contribution of and to a defective system, and she intends to defy it as her passive pleas turn
to ‗liberating‘ acts of anger.
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Binary Codes
The binary codes that relate to the central event problem and conceptual relevance are:
1. Constructive vs. Destructive
This binary holds the plot together. In scene 1, Sophie is at the Psychiatrist. This scene
intercuts with scene 2, where Sophie is at Home Affairs trying to re-apply for her driver‘s
license. In the Psychiatrist‘s consultation room, Sophie‘s paranoia and frustration is
intensified through the effective use of sound design, where the fish tank is annoying Sophie
extremely and causes her to have a slight fit of rage. This activates the binary as Sophie
wants to learn how to reconstruct and manage her anger. Throughout the narrative, we realise
that Sophie is not really being constructive. She becomes more and more destructive at Home
Affairs, which is the perfect place to have a fit of rage. This is specifically relevant to the
public sector of South Africa.
2. Submission vs. Resistance
The second binary strengthens Sophie‘s perspective of the public sector of South Africa.
Everyone who has ever gone to Home Affairs in South Africa have experienced frustration
and impatience with their pathetic service. This binary is activated visually trough
establishing Home Affairs with a montage;
1. Hawkers selling perfectly packed bananas and chips outside
2. Home Affairs Clerks in their cell phones, not helping customers
3. Filthy Home Affairs office walls.
4. Long queues.
Sophie‘s has problems managing her anger in Home Affairs. Her frustrating situation causes
her to burst out with anger, This fulfilled the binary as Sophie cannot resist her feelings of
anger.
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Conceptual Relevance
The conceptually relevant theme that underlines the narrative:
Psyche: Sophie is dealing with an inner conflict within her. This makes the narrative a plot
of the mind and thus the conceptually relevant theme is Psyche. (TOBIAS, Ronald B., 1993)
This theme is can be identified in the narrative as it is perceived by Sophies point of view
only. Everything revolves around Sophie‘s displeased perspective of Home Affairs and how
she tries to deal with it at the Psychiatrist.
Central Event Problem & Conceptual relevance to Target Market
The relate-ability of the narrative stems from the audience being able to recognise themselves
and their environment in the series. They are permitted to vicariously ‗freak out‘ through a
character who is uninhibited by social constraints. Home Affairs has been the butt of many a
South African punch line and through Sophie‘s borderline ridiculously honest approach
audiences can identify with the frustrations she experiences.
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Overarching Emotional Relevance
The narrative fall under the emotionally relevant theme of Human Nature and Personal
Development.
Sophie is in a very frustrating situation at Home Affairs and she is also dealing with personal
issues at the Psychiatrist. The audience can emotionally with the Protagonist by the visual
arrangement and shot selection that amplifies her anger for the public sector. Medium Close-
up‘s and Close-up‘s will show how Sophie‘s anger increases and her facial expressions will
evoke these emotions. The intercutting from scene 1 and scene 2 will enhance this feeling as
it moves from a calm and collected Psychiatrist consultation room to a chaotic Home Affairs
office.
Character Binaries
The two character binaries focus on the emotional state of the protagonist throughout the
narrative.
1. Anger vs. Contentment
Sophie is content and relaxed at the Psychiatrist and she is enraged at Home Affairs. This
binary focuses on separating the character‘s emotional response from each of the two scenes.
At the Psychiatrist, Sophie is calm, relaxed and understanding and at Home Affairs, she is
furious, disrespectful and aggressive.
Contentment – Acupuncture Bed Anger – Home Affairs
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2. Antagonism vs. Harmony
Sophie is antagonising herself from the patrons and staff at Home Affairs. She is creating a
dramatic unnecessary outburst and the people are responding to it negatively. The
Psychiatrist is creating a harmonious and eased environment for Sophie. We amplify this
binary through the different harmonious elements at the Psychiatrist; Yoga area/ Acupuncture
area/ Flower Garden/ Zen Sand Box.
Chaotic Home Affairs Harmony at Psychiatrist
Central Character Problem
The central character problem is the internal problems Sophie is dealing with. She is seeking
understanding and acceptance from others and herself. She wants to change herself, but fails
to do so, thus she wants to change the problems in society and this motivates why she
struggles with managing her anger.
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Subculture and Environment
The specific relevance is related to the subject matter of the narrative in that the problems the
protagonist has to deal with as well as the environments in which they take place are
recognisable to almost all South Africans.
According to the 1996 Census ―[o]f the 40, 6 million people living in the country in October
1996, just over 16, 1 million or 40% were youth, i.e. people in the age bracket 14 to 35. South
Africa's population is thus relatively youthful, a feature of the population of many developing
countries‖
The film considers national cultural psyche through the experiences of a young South African
woman. By means of emotional problems that have little to do with society, but as much to
do with the motive force of melodrama, she overcomes obstacles on her path to inner peace.
The narrative is relatable in its portrayal of our familiar pettiness and impatient attitude
toward a country that is still very much on the road to recovery. In the comedic tradition, the
narrative simplifies and exaggerates the attitudes we often have toward seemingly menial
irritants that plague our days when ultimately all we require is a willingness to laugh at
ourselves as a collective. In a country that is still largely separated culturally, we all have to
visit the dreaded Home Affairs Office at some point or another.
The primary subculture that can relate so Sophie and the central character problem is those of
Generation Y.
The generation Y apparently believe they can achieve anything. They are strongly leadership
focused, collaborative and seek meaning in work and opportunity to learn. Natives of the
digital world, they are frequently portrayed as demanding, selfish, text-addicted and job-
hoppers with little loyalty to their employers. On the contrary, they are under less financial
threats than the previous generations and have grown up with green issues into their way of
living. Besides, they are more urban focused and buy quickly into new concepts and ideas.
The film revolves in a modern South African environment. It‘s 2011 and the typical South
African political, economical en cultural themes apply.
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ETB: General, Conceptual and Emotional relevance
1. EPSPO: We are introduced to the Psychiatrist who sets the premise for the series by
describing the Protagonist, Sophie and the events leading to her court ordered therapy
sessions.
Emotional Relevance:. Sophie becomes extremely agitated and her focus moves to the
annoying sound of the fish tank pump. She works herself up and is not deterred by her
therapist‘s input.
General Relevance:. This is Sophie‘s introduction as an extremely disgruntled individual
who is very vocal about her frustrations. It becomes clear that she over complicates her life
by refusing to adhere to everyday expectations of her as a member of society. The content of
her rant is what links this scene to the next, as we see her continue the same outburst with a
complete stranger.
Conceptual Relevance: At first Sophie is reluctant to talk to her therapist but then
commences on an unstoppable rant about the process of having her cell phone registered. Her
therapist cautions her to manage her anger and her anger management problem is what the
film/TV series will be about.
5 Narrative Beats: Propositional beat. Sophie‘s circumstances are established and her
character flaw is made clear to the audience.
2. 1st explosion: After waiting in a queue for a presumably long time and finally
reaching the front, the clerk shuts the window before Sophie is able to handle her
business. Sophie has reached the end of her tether.
Emotional Relevance:. Sophie does not want to stand in a queue at Home Affairs and she
draws attention to this despite the obvious fact that no-one else probably does either. She is
insensitive to the fact that the people around her are put off by her relentless complaining.
General Relevance: These events portray Sophie‘s lack of awareness for those around her.
The world is merely an externalisation of her emotional state and the people that inhabit the
world are soundboards for her feelings.
Conceptual Relevance: Sophie is still talking about her distrust of the cell phone registration
process, but this time to a complete stranger in a queue at Home Affairs. She is irritated and
makes this known by her demeanour and exaggeratedly swotting flies She then turns to the
woman behind her and expresses her dissatisfaction, the woman does not indulge Sophie‘s
advances.
5 Narrative Beats: Oppositional beat. Sophie has confronted her problem head on. The
antagonist seems to be Home Affairs. Sophie in the enemy‘s territory and she is at a
disadvantage, the Clerk behind the counter has the upper hand
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3. Vacuum: Sophie collapses onto the counter in defeat, only to find that it is covered
in an unidentifiable sticky substance.
Emotional Relevance:. When the clerk closes the window, Sophie takes it as a personal
insult and assumes that the woman behind her will feel the same way.
General Relevance: The event of the window being closed is the catalyst for Sophie‘s fight
with the clerk and eventual removal from the premises.
Conceptual Relevance: As she reaches the front of the queue, the clerk shuts the window for
lunch. She taps on the glass but to no avail. Sophie collapses onto the counter and her arm
sticks to it.
5 Narrative Beats: Escalation: Sophie is starting to become more and more annoyed and her
internal character problem is starting to be evoked by escalating problems at Home Affairs.
4. Problem solving attraction: Sophie attempts to involve the woman behind her by
addressing the issue of unnecessary queuing. She is searching for comradeship or
solidarity in her situation.
Emotional Relevance: The underlining theme of Belonging is amplified emotionally as she
is searching for solidarity about the poor service at Home Affairs.
General Relevance: The binary code Constructive vs. Destructive is amplifying the narrative
through Sophie who wants to rebuild her ally‘s and comrades in the queue and get them on
her side.
Conceptual Relevance: Amplified sounds of babies crying, someone coughing and flies
buzzing may be implemented to emphasise the unpleasantness of the Home Affairs Office.
This is conceptually relevant to the poor service and unhygienic environments at most South
African Public facilities.
5 Narrative Beats: This is an escalating beat. Sophie‘s problem gets bigger and bigger and
her chances of actually being properly served is getting worse.
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5. PSD’s: Sophie can decide to either use the tools she has learnt in her therapy sessions
to control her anger and wait calmly with all the other people waiting in line, or act
upon her disgruntled attitude.
Emotional Relevance: Sophie has responded to the state of home affairs as a personal insult
and has consequently appointed herself to rectify the situation. Although this is a ridiculous
conclusion, she is genuinely confused when the clerk will not allow her to continue with what
she considers to be helpful.
General Relevance: Sophie wants to the other patrons, but in reality she wants to prove to
the Staff of Home Affairs that she knows best. This is a common thing for people to do and
complain about when waiting in long queues and when they have experienced poor service.
Conceptual Relevance: Sophie looks at the confusing directional notice boards and believes
that there is a lot of unnecessary queuing going on. She leaves the queue and begins to make
new ―improved‖ directional notices to put up onto the board. She goes over to the notice
board and starts pulling down the original instructions and is speedily approached by a Clerk.
5 Narrative Beats: Escalation: People are starting to gather as they watch Sophie‘s outburst.
The narrative and character binaries are escalating as she is moving further and further away
from Harmony and Contentment.
6. Solution: Instead of having a fit of rage she decides to redirect her efforts
―constructively‖ by updating the directional notices. In her misled mind this is being
constructive.
Emotional Relevance:. The more resistance she is confronted with, the more she resists.
This relates to the character binary of Antagonism vs. Harmony, because Sophie is
antagonising herself from the people who are serving her at Home Affairs.
General Relevance: This beat is relevant to the second binary that relates to general
relevance and is universal to people with fits of rage: Submission vs. Resistance – The more
one tries to resist the problem, the worse it gets.
Conceptual Relevance: Sophie then gets into an argument with the clerk and attempts to
reason with him/her as she truly believes she is being helpful.
5 Narrative Beats: Escalation – Sophie is antagonising herself more and more, which
escalates the central character problem.
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7. NPSPO: The protagonist attempts to reason with the clerk, claiming that what she is
doing is for the greater good.
Emotional Relevance: She attempts to maintain herself and calm down. This relates to the
character binary of Anger vs. Contentment.
General Relevance: This sequence is the build-up to the climax. It shows Sophie‘s inability
to control herself and follow the rules. It reveals how Sophie ended up in Anger Management
in the first place.
Conceptual Relevance:. This sequence is intercut with Sophie in the psychiatrist‘s office
naming the anger management tools that she supposedly used to deal with the situation
reasonably. However we see that although there are correlations between the tools and the
actual event, Sophie really didn‘t apply them very well. Sophie spirals out of control and
refuses to adhere to the clerk‘s warnings and eventually the clerk motions for security.
5 Narrative Beats: Final Escalation – The apex of escalation, just before the complication
beat of the narrative. Sophie is freaking out and she is out of control, she has failed to
maintain harmony within herself.
8. 2nd
explosion and vacuum: Protagonist is dragged out of the Home Affairs office,
kicking and screaming.
Emotional Relevance: Sophie is relentless in her efforts to fight whatever is system she finds
herself in and she insists on being heard. Her sarcasm suggests that beneath all her ranting
she is extremely insecure in a world that she does not understand. She isolates herself yet she
needs to be heard, these are conflicting attitudes.
General Relevance: The character flaw is exposed. Sophie has failed to fulfil the binary
codes due to her resistance and anger. Her need for belonging is left empty as she is dragged
out.
Conceptual Relevance: The reaction of the extras is crucial to the impact of this scene. It
once again emphasises Sophie‘s lack of social awareness and will add to the comedic effect.
Visually it should look as though the entire Home Affairs office has come to a standstill,
which ironically is what Sophie has set out to combat.
5 Narrative Beats:. Complication – Security physically intervenes and drag Sophie out. She
can no longer disturb the people at Home Affairs and she has lost her battle.
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9. Climax: Sophie has pasted her directional improvements all over the outside of the
Home Affairs office.
Emotional Relevance: Only once she has been escorted out of the building does she plead
with the security guards and by doing so, she admits to needing the system which is possibly
the root of her problem.
General Relevance: This sequence is the culmination of Sophie‘s rants; it proves how
ineffective her methods are and perhaps hints at what a lonely person she truly is.
Conceptual Relevance: Sophie is dragged, kicking and screaming out of the Home Affairs
office by security. Her reason for being there is revealed as she shouts that she needs an ID to
be able to register her phone (which links to her original complaint). The narrative then cuts
back to the Psychiatrist‘s office where Sophie begins to make a breakthrough by mentioning
that perhaps she could let things go more easily, however she returns to her original attitude
almost immediately implying that this is not the last of this kind of behaviour.
5 Narrative Beats: Complication – Sophie has lost the battle, but not the war. To solve her
anger management problem, or at least to give her the feeling of victory, she trashed and
covered the exterior of Home Affairs with her raging opinion of Home affairs.
10. FPSPO: Although Sophie has not worked through her anger issues, she is on the
road to recovery. She has put her notices up instead of causing additional direct
conflict with the administrators at Home Affairs.
Emotional Relevance: In the end, Sophie gets her way, She trashes the entrance of Home
Affairs and feels emotionally fulfilled. The Binaries of Anger and Antagonism have been
fulfilled.
General Relevance: By putting the notices up it shows that she never gives up on the
principles that she believes in, a character trait that when re-focused may indeed prove useful
or helpful.
Conceptual Relevance: This cuts to the exterior of Home Affairs where Sophie‘s notices are
plastered all over the outside of the building, and back to the psychiatrist‘s office where
Sophie claims to have managed her anger.
5 Narrative Beats: Revelation – Sophie has achieved victory. Sophie is still struggling with
her anger management and this internal character problem will drive the narrative into more
episodes and through her therapy sessions she will reach a state of full recovery.
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Central Event Problem: Scene-by-scene Breakdown
The 5 Textual Interpretation questions of the central event problem are:
WHO: Sophie, a anger management patient, sentenced to court ordered anger management
psychiatry sessions.
WHAT: Sophie is dealing with anger management problems and is having a terrible and testing day.
WHERE: Home Affairs, the place where South Africans are most likely to lose their minds and
have a complete rage fit.
WHEN: Sophie is at Home Affairs just before lunch time in a long qeue and she is getting
extremely frustrated about it.
WHY: Sophie has to review her driver‘s license, due to yet another furious outburst with a traffic
officer, who suspended her driver‘s license.
The film consists out of two scenes. The first scene is at the Psychiatrist consultation room and the
second scene is at Home Affairs. The scenes are linked together with Sophie speaking directly to
camera, delivering a video journal of the daily events. The narrative intercuts in-between the two
scenes as the narrative progresses and it reaches a climax at Home Affairs and resolution is back at
the psychiatrist again.
The central event problem is portrayed in scene 2, where the primary event-narrative will take
place. Sophie is in a long queue at Home Affairs. Her anger management problem causes her to
make a dramatic scene, which ultimately gets her kicked out of Home Affairs and arrested for
causing unrest in public.
CEP Establishment/Development/Fulfilment
The central event problem is established visually with a montage that resembles the poor service
from the public sector. It is strengthened when we see that Sophie is waiting in a very long queue
and that she is getting agitated while waiting. Her anger develops into a fit of rage as the narrative
progresses and she starts freaking out and acting out her anger. The central event problem is
fulfilled when we see that Sophie wrecked Home Affairs early the next morning with toilet paper
and trash everywhere.
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Central Character Problem: Scene-scene breakdown/Character Growth
The central character problem revolves around Sophie‘s anger management issues. This is
depicted in scene 1 at the Psychiatrist‘s office. Here she explains her feelings and issues to
the Psychiatrist and he provides her with healthy tools that she can use to prevent her from
acting out her anger. This scene intercuts with the presently happening events at Home
Affairs.
Scene 1 will consist of a variety of different methods that the Psychiatrist uses to calm his
patients down and help them. This scene will occur non-linearly to the rest of the plot, as it
happens on different appointments.
CCP Establishment
Sophie is sitting in a couch and she starts to talk about her problem with the Psychiatrist. He
gives her advice and she tries to implement it at Home affairs.
CCP Development
The Psychiatrist continues to help her control her anger by using different techniques. As
Sophie discovers more about her problem, the scene will move onto different stages.
1. They are sitting at couches talking
2. The Psychiatrist give Sophie acupuncture to calm her down.
3. They do meditating yoga together
4. They find the right path in a Zen sandbox
5. Sophie admits her problem in an AA meeting with other anger management patients
6. Sophie cares for a plant, by watering it, which evokes the sensitive side of Sophie.
CCP Fulfilment
The character problem is fulfilled when Sophie speak to the camera again in the last shot,
where she believes that she is managing her anger, by trashing Home Affairs. Sophie does
not overcome her anger management problem. This can drive the narrative forward into
following episodes, where Sophie continues to go to the Psychiatrist due to this character flaw.
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Character Goals
Sophie is her own worst enemy, when she is confronted with everyday frustrations, she
responds to them as though they were personally directed at her. Although she is self-
righteous and uses sarcasm as a weapon, her honest, over the top and often accidentally
comedic response to life makes her enduring. What most people are socially aware enough
not to say out loud, Sophie verbalises to anyone who will listen. Sophie attempts ―to
dominate the environment, and to stay in control of [her] situation.‖
In scene 1, Sophie‘s character goal is to understand and overcome her anger management
problem at the Psychiatrist.
In scene 2, Sophie‘s character goal is to make everyone else understand and conform to her
opinion in Home Affairs.
She reaches neither of these goals, but she handles her anger management problem in her
own way, by acting out in revenge.
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Character Obstacles
PROTAGONIST CHARACTER TYPE 8:
According to the Enneagram institute Sophie may be described as a Challenger or a Type 8
personality. ―Eights are self-confident, strong, and assertive. Protective, resourceful, straight-
talking, and decisive, but can also be ego-centric and domineering. Eights feel they must
control their environment, especially people, sometimes becoming confrontational and
intimidating. Eights typically have problems with their tempers and with allowing themselves
to be vulnerable.‖ (INSTITUTE, The Enneagram, 2007)
Sophie attempts to be in control of her situation by upsetting the systems that are already in
place, whereas the Administrative clerks‘ objective is to have everything remain as it is
without any disruption. In this way a power struggle occurs as the clerk attempts to create
harmony in his/her environment, s/he wants to avoid conflict and preserve things as they are.
When Sophie proves unmanageable, she is forcefully escorted out of the building and order is
once more restored to the Home Affairs office.
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Goal attainment Strategies
She wants to be self-governing, and resists being obligated to anyone. Although Sophie is
assiduous, she often loses emotional contact with many of the people in her life. She is often
so out of touch with social norms and standards that it confuses her when those around her
become increasingly disgruntled and put off by her behaviour.
Even after Sophie is physically removed from the Home Affairs office, she plasters her
directional notes on the outside of the building, proving her unyielding, relentless nature and
self-righteous need to make a point. Throughout the series she may begin to make more
personal connections with people, this process begins with her therapist as he is the first
individual who is obligated to really listen and take note of what she says.
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Fulfilment: Events and characters
By looking at Sophie‘s response to the first and second explosions and their vacuums within
the ETB, we can identify the event and character fulfilment.
PROTAGONIST’S RESPONSE TO 1ST
EXPLOSION AND VACUUM
After standing in the queue at the notoriously unorganised Home Affairs office for a
predictably long time, Sophie is denied access to the clerk‘s desk for another hour as the staff
takes lunch. In the vacuum, she dramatically slumps down onto the counter, defeated. By
doing this Sophie makes a public display of her frustration. She then turns to the person
nearest to her in an attempt to find an ally in her situation; however instead of merely making
note of the situation she proclaims that the entire country is to blame for their dilemma. She
exaggerates the situation and makes it personal. She does this in an attempt to justify her
behaviour later on in the narrative as she attempts to better the directional system. What
might be considered delusions of superiority, is merely a lack of social awareness and a basic
understanding of acceptable public behaviour. Sophie lacks a filtration system and is
genuinely confused by what she considers obvious flaws in society.
PROTAGONIST’S RESPONSE TO 2ND
EXPLOSION
When Sophie is physically escorted from the Home Affairs office, she is defiant to the end.
She disregards the fact that she is making a spectacle of herself and is seen being dragged out
kicking and screaming. By the end of the narrative we see that regardless of what has
happened, she has insisted on putting up her notices on the outside of the building. This
emphasises her desire to prove a point. The fact that she needs to get an identification
document becomes secondary to the principle of what she believes to be a crime against
logic. Although her character development is negative (as she does not adopt a new
behavioural pattern) the fact that she is therapy suggests that she is on the road to recovery.
As the series progresses, so will Sophie‘s ability to access situations and behave
appropriately.
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Resolution and Resonance
The significance and deeper meaning to the narrative lies within the history of South Africa.
It portrays the Post- Apartheid era and how South African citizens view the governing
political parties and leaders.
The environment in which the action takes place is ripe with visually metaphoric possibilities,
and the film will draw on much South African symbol and iconography. The confusing notice
board at the Home Affairs Office become a metaphor for an ill-defined cultural generation.
In a volatile country where political sensitivity still lingers amidst a post-apartheid
generation, the ineffective system for obtaining an identity document may stand for an
inability to define oneself within the South African context. This inability is then rechanneled
as confused frustration and ultimately personalised anger focused on an inanimate
bureaucratic system, which in the narrative takes the form of Sophie‘s personalised
directional notices.
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Genre
In general when asked how people define comedies, the word ―laugh‖ would usually be
involved. Everyone likes to laugh so then it must be easy to make a comedy film? ―Initially
comedy seems to be a very easy genre to deal with, most people like ‗amusing‘ films;
however, one person‘s sense of humour is another person‘s misery. From the perspective of
genre the ability to appeal to a wide range of people to gain financial success means that it is
a very difficult genre to do well, either as a genre in itself or as an aspect of a multi-generic or
hybrid generic film.‖ (Walford, 2007) Comedy is generally considered a genre hybrid
because it can be made as black comedy, slapstick, gags, satire, parody, mockumentary etc.
―Comedies frequently rely far less than most other genres upon standardised narrative
devices.‖ (Walford, 2007)
―The comedy genre humorously exaggerates the situation, the language, action and
characters. Comedies observe the deficiencies, foibles, and frustrations of life, providing
merriment and a momentary escape from day-to-day life. They usually have happy endings,
although the humour may have a serious or pessimistic side.‖ (filmsite.org)
Here are some common elements that many comedies share:
The protagonist has a character flaw he is unaware of.
Audiences can identify with the protagonist‘s character flaw because it‘s a common,
human flaw. This is what makes them laugh – they recognise the flaw in themselves
The protagonist‘s flaw hinders his relationships with other.
He only become conscious of his flaw then there is a crisis.
Audiences are well versed in genre conventions and come to the cinema with certain
expectations. There are four main areas of convention within genre that need to be adhered
to, namely: setting, roles, events and emotional expectations. For example when watching a
romance film you expect to have the boy-meets-girl moment or when watching a detective
film there needs to be a cop and a criminal otherwise the hero cannot triumph over evil. Even
without being aware of it the audience will judge a film within a genre according to these
criteria.
24
Film References
The Office USA (The Office USA, 2005-)
Synopsis: A mockumentary on a group of typical office workers, where the workday consists
of ego clashes, inappropriate behaviour, and tedium. Based on the hit BBC series.
The office is both an aesthetic and stylistic reference for Life is Hard. The office is an
American comedy television series broadcast by NBC. ―Adaption of the BBC series of the
same name, it depicts the everyday life of office employees in the Scranton, Pennsylvania,
branch of the fictional Dunder Mifflin Paper Company. To simulate the look of an actual
documentary, it is filmed in a single-camera setup, without a studio audience or a laugh
track.‖
Modern Family (Modern Family, 2009-)
Synopsis: A satirical look at three different families and the trials they face in each of their
own uniquely comedic ways.
25
Modern Family is both a narrative, aesthetic and stylistic reference for Life is Hard. Modern
Family is an American television comedy which debuted in 2009. Depicted in a
mockumentary style, the fictional characters talk directly into the cameras during many
situations that arise throughout the series.
It received a ―universal acclaim‖ (www.imdb.com) Metacritic score of 86 out of 100.
According to metacritic, the first season was the best reviewed new broadcast television
series. BuddyTV named the show the second best show in 2009, saying: ―Every actor is
fantastic, every family is interesting, and unlike many shows, there isn‘t a weak link.‖ ―The
third season premiere became ABC‘s top-rated season premiere in six years.‖ (Seidman,
2011)
Other film references that relate to the hyper-realism shooting style include:
Extras (Extras, 2005-2007)
Synopsis: Andy Millman is an actor with ambition and a script. Reduced to working as an
extra with a useless agent, Andy's attempts to boost his career invariably end in failure and
embarrassment.
Arrested Development (Arrested Development, 2003-2006)
Synopsis: Level-headed son Michael Bluth takes over family affairs after his father is
imprisoned. But the rest of his spoiled, dysfunctional family are making his job unbearable.
These series‘ are created in the mockumentary style genre. The focus is on characters
surviving in the modern world. They are character and situational driven comedies.
26
A mockumentary "is specifically limited to fictional texts; those which make a partial or
concerted effort to approximate documentary codes and conventions in order to represent a
fictional subject‖ (Hughes, 2004). There has been a recent surge in mockumentary style
television series as of late, following the success of the British television series The Office. A
mockumentary is a type of film or television show in which fictitious events are presented in
documentary format. These productions are often used to examine or comment on current events
and issues by using a fictitious setting, or to parody the documentary form itself.
In the pilot episode the protagonist attempts to complete an administrative task at a local
Home Affairs office. Through making use of this South African comedic stereotype (i.e.
Home Affairs) and re-contextualising it through the eyes of an unsatisfied South African who
is unable to filter her typical frustrations to a socially acceptable level. She engages in
accidental offensive behaviour and public outbursts which lurk underneath the skin of most
South African inhabitants.
When referring to his 1969 film Take the Money and Run, filmmaker Woody Allen states;
―The documentary format was very serious, so you were immediately operating in an area
where any little thing you did upset the seriousness and was thereby funny‖ (Oliver, 2011).
Though the content is recognisable as comedy, handheld cameras capture the feel of direct
cinema. For this reason the format and technical aspects of our project are as vital to its
plausibility as the narrative content. ―The filmmakers use the documentary form to create
illusions that have kind of a real feeling to them. What you see has to be real – because it was
put to film‖. (Oliver, 2011).
27
Translation Style
The episodes will intercut between her sessions with an off-screen, off-beat therapist and
events in her daily life. The pilot episode is the protagonist‘s introduction to the audience. In
the pilot episode the protagonist attempts to complete an administrative task at a local Home
Affairs office. Through making use of this South African comedic stereotype and re-
contextualising it through the eyes of an unsatisfied South African who is unable to filter her
typical frustrations to a socially acceptable level.
Camera Style: Hand Held Realism
One of the camera techniques we will be employing is that of the handheld camera. This will
emphasise the unpredictability of the subjects‘ behaviour, for example if the protagonist
unexpectedly storms out of a room the camera movement (having no time to prepare) would
be unstable and slightly erratic emphasising the chaos of the situation. In this way the camera
becomes an additional character as not only do the characters‘ interact with it, but
opinionated filming makes commentary through what is being portrayed. Another way in
which this unpredictability may be implemented is through the use of high speed zooms.
Camera Zoom‘s: Zoom from MS – MCU , loose Hand Held Shots and steady cam Tracking.
(Modern Family, 2009-)
28
Lighting style
Therefore we will be employing soft lighting that ―wraps‖ around the set, casting shadows
with soft edges, and as the aspect ratio will be set for television the focus in each frame will
generally be in the middle.
Editing style: Effective and rapid intercutting between the two scenes will enhance the
humour and conceptual relevance in the dialogue. It will also make the actor‘s performance
ore believable as it intercuts on certain dialogue beats.
Production Design style: The setting of our project is typically South African and will
therefore make use of visual indicators that at times make subtle commentary about the
environment and at other times vociferously poke fun at the ridiculous nature of the world we
live in. Although the series attempts to mimic the documentary style of filming, it remains a
parody and therefore comedic in content. It is scripted and therefore will acquire a sense of
heightened reality and therefore aesthetically it should remain pleasing and light in terms of
colour palette and design as to stay true to the comedic genre.
Colour Pallete for the Scene 1: Int. Psychiatrists Consultation Room
29
Visual effects:
Creative use of Visual effects will make the title sequence and Pilot Episode title very
entertaining and engaging. Film references for the Title Sequence include: Kitchen
Confidential (Kitchen Confidential, 2005)
Creative use of Editing and VFX split screens.
CMS style
Because the protagonist is so conservative, the CMS style focuses on how restricted Sophie‘s
personal wardrobe is. She starts off as anal-retentive and she develops toward a more relaxed
and liberal CMS style. At the Psychiatrist, she does not want to open up her emotions and she
dresses quite protectively, but as the narrative progresses, we see her changing into loose
clothing while doing yoga and comfortable white cotton clothing while in the Zen garden.
Anal-rentitive Liberal
30
Sound style
In the same way sound may be used as an additional opportunity for heightened comedic
effect as the subjects are supposedly not accustomed to being hooked up to a microphone. So
for example in moments of extreme awkwardness the character might accidentally and
repeatedly brush over the microphone and then react to the off screen reactions of the camera
crew. This will be done indirectly. The character will be directly connected to her narrative
world, but still be connected indirectly and subconsciously to the camera crew.
Camera and Actor relation.
Jane Roscoe, the author of Faking It states that deconstruction is a vital component to the
genre of mokumentary as ―deconstruction subverts and deconstructs the conventions and
aspects of the documentary. For example the way in which The Blair Witch Project created
fear in the audience by deconstructing the classic horror genre.‖ Our series will be utilising
this Alienation technique by deconstructing the ‗glossy‘ sitcom genre by combining it with
the uncomfortable realism of a documentary. An example of how this will be executed is that
at times the characters will address the camera directly.
When the protagonist is talking to the off screen psychiatrist, she is looking directly at the
camera, suggesting that the position of the psychiatrist is somewhere behind the camera. In a
way this discredits the legitimacy of the therapist and pokes fun at the current outpouring of
reality TV shows that promote so-called serious people with real problems. The characters‘
awareness of the camera crew creates additional comedic possibilities as the intimate
revelation for a fake smile or a heart-warming moral for an ill-timed disability joke, makes
them more enduring and relatable. In short, the camera behaves like a documentary camera
and the actors behave like documentary subjects.
31
Staging
The sections below each contain a short paragraph of accurately planned character beats.
These beats help to construct the storyboard and will give a clear indication to the actors and
mise-en-scene of what is happening in frame.
Scene 1.1: INT. Psychiatrist Consultation Room – Day
Sophie and Psychiatrist. Sophie on Couch. Psychiatrist on Couch. There is some tea in a cup
and psychiatrist is dressed in outfit 1. Static positions. She looks at the fish tank and looks
into the lens. Annoyingly.
Scene 1.2: INT. Psychiatrist Consultation Room Acupuncture bed – Day
Sophie is laying on her stomach, looking through the peep hole in the acupuncture bed. The
Psychiatrist puts hot rocks on her back. she shrieks. Her body is partially covered in needles
already. Psychiatrist is in outfit 2.
Scene 1.3: INT. Psychiatrist Consultation Room flower garden – Day
Sophie and Psychiatrist are at the Flowering garden. Psychiatrist is drinking tea. He is dressed
in a different outfit. Sophie is watering some plants. Weed plants too. Psychiatrist is just
standing there watching her.
Scene 1.4: INT. Psychiatrist Consultation Room Yoga Mat – Day
Sophie and Psychiatrist is on a yoga mat. Both in their Yoga clothing. Psych is shirtless with
a loose pants. Downward Dog pose into stretch ! Track shot. Both of them are facing the each
other/ Psychiatrist is drinking tea on a little wool pillow, facing her.
Scene 1.5: INT. Psychiatrist Consultation Room ZEN sandbox – Day
Psych and Sophie are standing in front/ inside the Sandbox. Sophie is raking the sand. Psych
is holding a stick. Sophie rakes the sand and it reaches a rock. Psych points the route. Sophie
rakes along the rock until she passes it. Psych with a cup of tea.
Scene 1.6: INT. Psychiatrist Consultation Room AA meeting – Day
Psych is sitting in an OTS position. 3 people are facing him/ Sophie and other 2 AA people.
Sophie is in the middle. They all speak together. Camera tracks with them.
32
Scene 1.7: INT. Psychiatrist Consultation Room Yoga Mat – Day
Sophie and Psych are on the yoga mat again. They are doing a standing pose this time they do
it together.
Scene 1.8: INT. Psychiatrist Consultation Room Acupuncture Bed– Day
Sophie is laying on her back. Her breasts and groin are covered with a towel. The Psych is
busy at a little table behind her, trimming the flowers of a bonsai tree or something. She lifts
up her arm and wiggles it. Birds Eye shot.
Scene 1.9: INT. Psychiatrist Consultation Room couches – Day
Awkward silence, Sophie looks into camera, Psychiatrist clears his throat. Both just sitting.
Scene 1.10: INT. Psychiatrist Consultation Room couches– Day
Sophie on camera, dialogue.
Scene 2.1: INT. Home Affairs –DAY
1. Hawkers are outside selling chips and bananas
2. A very active and alive home affairs with lots of people walking around and signing forms etc.
3. The photo booth ticket man is taking photos of some people.
4. A clerk is behind her desk, talking on her cell phone in Xhosa.
5. We follow a very long queue until we reach Sophie. 1 man is in front of her [ elderly black
man.] 1 lady is at the clerk already being served. 5 – 7 people are behind her, cramping up,
giving Sophie some space. Extras are walking in front of the lens and far behind the camera.
Scene 2.2: INT. Home Affairs –DAY
Queue is closer to the help desk now. Sophie is staring at the back if a big black man‘s head.
He is up next. She is swatting for flies every now and then. The black man walks to a booth
to the right and Sophie walks to the booth in front of her. When she gets to the desk, the clerk
slams it shut. And takes a seat 4 meters away, opening her lunchbox with chicken in it and
starts eating. Sophie taps on the glass. Clerk points to the notice board and shouts out. Sophie
looks at the notice board and falls into her arms on the desk. She pops herself up, sticking to
the desk[ wet].
33
Scene 2.3[1][2][3]: INT. Home Affairs –DAY
1. Sophie gets up from the sticky mess
2. She turns around and talks to the lady behind her
3. The lady takes a step back
4. Sophie leaves the Q and rummages through her handbag
5. She takes out a pen and paper
6. The people in the Q check her out and gossip silently.
7. Sophie walks to the notice board
8. She starts writing over the notice boards with a permanent marker
9. Clerk exits booth and comes toward her, staying a 2 meters away.
10. Sophie Dialogue + she rips more notice boards off.
11. Sophie and clerk argument. People are watching and gossiping . Another clerk is
peeping through her window at the event.
12. Argument continues ― Miss we need everyone‖
13. Clerk and Black man stare at her as she starts freaking
Scene 3.1 INT. Home Affairs –DAY
Security pulls her out of the building. People are staring at her. Sophie dialogue.
Scene 3.2 INT. Home Affairs –DAY
1 master Jib shot/ track shot. Camera is placed outside Home affairs, facing the entrance.
1. Hawkers are selling their products outside
2. Labourer is brooming the stoep outside.
3. Police drag Sophie outside. Camera jibs with the action.
4. Cranes up to the roof of the Home affairs, with 1 BIG Notice on the ROOF !
5. While the cam cranes up, Sophie gets in a police car/ just continues out of frame.
6. Extras are walking in, checking out the commotion
Sophie on camera scenes 2.1/ 2.3[1]/2.3[4]/2.3[5]/3.1/ 1.10
Ticket booth is flashing with black man operating it. Sophie is standing 1-3 meters away from
it talking to camera.
34
Shot list
Location Scene Shot Nr. Description Timing
INT. Psychiatrist 1.1 1 Static XWS 3
Consultation Room
INT. Psychiatrist 1.1 2
Track -
OTS angle
1 8
Consultation Room
Couches
INT. Psychiatrist 1.1 3
Track - OTS angle
2 8
Consultation Room
Couches
INT. Psychiatrist 1.1 4
Static - MS-
profile 4
Consultation Room
Couches
INT. Psychiatrist 1.1 5 Static CU 5
Consultation Room
Couches
INT. Psychiatrist 1.1 6 Static - CA 4
Consultation Room
Couches
INT. Psychiatrist 1.1 7 Static CU 5
Consultation Room Couches
INT. Psychiatrist 1.1 8 Static - CA 2
Consultation Room
Couches
INT. Psychiatrist 1.1. 9
Track -
OTS angle 2 8
Consultation Room CU
Couches
INT. Psychiatrist 1.1 10
Track -
OTS angle
1 8
Consultation Room MS
Couches
INT. Psychiatrist 1.1 11
Track -
OTS angle
2 5
Consultation Room MCU
35
EDIT transition 1.1
Pilot Episode Title 1.1 12
Static -
Wide Shot 6
INT. MALL - Day
EDIT transition 1.1-2.1
INT + EXT Home Affairs 2.1 13
Static
Cutaway 3
Day MS
INT + EXT Home Affairs 2.1 14 Static Cutaway 2
Day CU
INT + EXT Home Affairs 2.1 15
Static
Cutaway 2
Day CU
INT Home Affairs 2.1 16
Static
Cutaway 3
Day MS
INT Home Affairs 2.1 17
Static
Cutaway 3
Day MCU
INT Home Affairs 2.1 18
Static
Cutawat 2
Day CU
INT Home Affairs 2.1 19
Steady Cam
Track 10
Day Waist Shot
INT Home Affairs 2.1 20 Hand Held Master 10
Day
Med Shot -
MCU
INT. Home Affairs 2.1 21 Static Tight 4
Day MS
Sophie on Camera
EDIT transition 2.1- 1.2
INT. Psychiatrist 1.2 22
TILT down
MS 4
Consultation Room
Acupuncture Bed
INT. Psychiatrist 1.2 23 Static CU 2
Consultation Room
Acupuncture Bed
EDIT transition 1.2 - 2.2
INT. Home Affairs 2.2 24 Static MCU 3
Day
36
INT. Home Affairs 2.2 25 Hand held 5
Day MS
INT. Home Affairs 2.2 26
Hand Held
OTS 4
Day
INT. Home Affairs 2.2 27 Hand Held 6
Day Loose MS
INT. Home Affairs 2.2 28 Hand Held 3
Day Tight MS
INT. Home Affairs 2.2 29 Hand Held 4
Day MCU
INT. Home Affairs 2.2 30
Hand Held
Tight MS 4
Day Tight MS
EDIT transition 2.2-1.3
INT. Psychiatrist 1.3 31
Hand Held
CU 3
Consultation Room Cutaway
Flower Garden
INT. Psychiatrist 1.3 32 Static CU 3
Consultation Room Cutaway
Flower Garden
INT. Psychiatrist 1.3 33 Static 7
Consultation Room
Waist 2-
Shot
Flower Garden
EDIT transition 1.3-2.3[1]
INT. Home Affairs 2.3[1] 34 Hand Held 5
Day MS
zoom into
MCU
INT. Home Affairs 2.3[1] 35 Static 3
Day Cutaway
INT. Home Affairs 2.3[1] 36 Hand Held 7
Day Tight MS to
OTS
INT. Home Affairs 2.3[1] 37 Hand Held 8
Day
Waist 2 -
Shot
INT. Home Affairs 2.3[1] 38 Static Tight 4
Day MS
Sophie on Camera
EDIT transition 2.3[1]-1.4
INT. Psychiatrist 1.4 39 Track - MS 6
Consultation Room Yoga Mat
37
EDIT transition 1.4- 2.3[2]
INT. Home Affairs 2.3[2] 40 Hand Held 4
Day MCU
EDIT transition 2.3[2]-1.5
INT. Psychiatrist 1.5 41
Hand Held
CA 2
Consultation Room
Zen Sandbox
INT. Psychiatrist 1.5 42
Static 2
Shot 6
Consultation Room
Zen Sandbox
INT. Psychiatrist 1.5 43 Static MCU 3
Consultation Room
Zen Sandbox
EDIT transition 1.5-2.3[3]
INT. Home Affairs 2.3[3] 44
MS - Zoom
to OTS 6
Day
EDIT transition 2.3[3]-1.6
INT. Psychiatrist 1.6 45 Tracking 4
Consultation Room
Waist 3
Shot
AA meeting
EDIT transition 1.6-2.3[4]
INT. Home Affairs 2.3[4] 46 Static Tight 7
Day MS
Sophie on Camera
INT. Home Affairs 2.3[4] 47 Hand Held 10
Day
Master 2
shot
EDIT transition 2.3[4]-1.7
INT. Psychiatrist 1.7 48 Tracking 5
Consultation Room Fullshot Yoga Mat
EDIT transition 1.7-2.3[5]
INT. Home Affairs 2.3[5] 49 Static Tight 10
Day MCU
Sophie on Camera
INT. Home Affairs 2.3[5] 50 Static 10
Day
Wide 2-
Shot
EDIT transition 2.3[5]-1.8
INT. Psychiatrist 1.8 51 Birds Eye 6
Consultation Room Acupuncture Static – Full shot
38
EDIT transition 1.8-3.1
INT. Home Affairs 3.1 52
Steady Cam
Track 7
Day MS
INT. Home Affairs 3.1 53 Hand Held 3
Day Cutaway
MCU
INT. Home Affairs 3.1 54 Hand Held 3
Day Cutaway
MCU
INT. Home Affairs 3.1 55 Hand Held 3
Day Cutaway
MCU
INT. Home Affairs 3.1 56
Static
Loose 4
Day MS
Sophie to Camera
EDIT transition 3.1-1.9
INT. Psychiatrist 1.9 57
Static 2
Shot 3
Consultation Room
Couches
INT. Psychiatrist 1.9 58 Tracking 10
Consultation Room
OTS angle
2
Couches
INT. Psychiatrist 1.9 59
OTS angle
1 3
Consultation Room
Reaction
Shot
Couches
INT. Psychiatrist 1.9 60
OTS angle
1 4
Consultation Room
Couches
INT. Psychiatrist 1.9 61 Static Tight 6
Consultation Room MCU
Sophie on Camera
EDIT transition 1.9- 3.2
EXT/INT Home Affairs 3.2 62
Static Wide
Shot 4
Day
EDIT transition 1.9- 3.2
INT. Psychiatrist Consultation
Room - Sophie on Camera 1,10 63 Static MCU 4
Cut to Black Total Time 313 Sec [ 5:13]
39
Visual & Acoustic Breakdown: Production Design/Sound Design/ Music
There are two scenes in the narrative that consistently intercuts as the narrative progresses.
The first scene will depict the Binary code of Harmony vs. Antagonism and the second binary
code will depict the binary code of Anger vs. Contentment.
The first scene takes place in a ―Wellness Psychiatrist Consultation room‖ that contains many
different areas that Sophie and the Psychiatrist will use in their therapy sessions. The sound
design will be vivid and crystal clear. The sound design will include elements of the earth and
nature combined with a very harmonious music score that will enhance the character binary.
Sound Design Foleys Scene 1: Birds Chirping/ Gravelling sand in sand box/ Fish Tank
Water dripping/ Tea Sipping / Steam/ Snipping flower noises/ the waves of the sea
Music Scene 1: Harmonious underscore with subtle Didgeridoo/ subtle beats of an African
drum.
Scene 1: Int. Psychiatrist Consultation Room : Couches
Scene 1: Int. Psychiatrist Consultation Room : Acupuncture Bed
40
Scene 1: Int. Psychiatrist Consultation Room : Yoga Mat
Scene 1: Int. Psychiatrist Consultation Room : Flower Garden
Scene 1: Int. Psychiatrist Consultation Room : AA meeting
41
Scene 1: Int. Psychiatrist Consultation Room : Zen Sandbox
Scene 2: Int. Home Affairs
Scene 2 unfolds at Home Affairs in Cape Town. This scene will depict the dirty, unhygienic
and poor public sector of South Africa. There will be hawkers outside Home Affairs and the
overall look and feel of Home Affairs will make Sophie anxious and discomforting. This
feeling will evoke certain emotions that relate to her central character problem of Anal-
Retentive Subclinical OCD. She will get frustrated, annoyed and this can be a catalyst for her
angry outburst. The Sound Design and music will add tension to the emotional relevance. The
sounds of patrons talking and walking about will be vividly heard, the chatter in the queue
and the general announcements done by the Home Affairs staff will annoy the protagonist
even more. There will be no music, although Home Affairs will be established with a
montage sequence which will include a music score that relates to a South African Black
Kwaito Subculture. Artists for this music score can be: Mandoza, Swatta Kamp, Zola 7,
Mzeke- Zeke, Mafikizolo.
42
Visual & Narrative Requirements of the Cast
Protagonist: Sophie
Character Look alike: Jayma Mays
Backstory: Sophie is struggling with anger management and she is sentenced to a few weeks
of court ordered therapy sessions at a Wellness Psychiatrist. She is anal-retentive and has
subclinical OCD.
Traits & Mannerisms: She likes making notes and to-do lists, she is always on control of
her situation or she tries to be, by being in a ―checking‖ mode all the time. This ― checking
mode‖ consists of ; checking the time constituently, checking her hair and making sure its
perfect, checking the notices and always observing her environment. These mannerisms will
be portrayed be the actress in a very subtle way.
Ethnicity/race: Coloured/South-African
Age: 24
Language: English
Sex: Female
Height: 159cm
Weight: 54 kg
Hair: black/brown
Religious Views: Very Conservative
Body: Small frame and Petite-looking. Composed and firm stance.
43
Actor Requirements: Actor needs to evoke a lot of emotions. She needs to research Anal-
Retentive OCD as a psychological illness and depict that in her character in a very subtle,
natural and evident level.
Supporting Character : Psychiatrist
Character look-alike: Russel Brand
Backstory: Wise-Old Man Archetype
Traits & Mannerisms: Laid-Back/relaxed/calm/ careless/open-minded.
Ethnicity/race: Caucasian/ Argentinian
Age: 30
Language: English/Spanish/Italian/Mandarin
Sex: Male
Height: 178cm
Weight: 68 kg
Hair: black/brown
Religious Views: Very Liberal
Body: Slim and lean.
Actor Requirements: Actor needs to be able to do Yoga and portray a sense of calm and
extremely relaxed way of speaking.
44
Other featured characters
Featured Clerk Pregnant Teen Mall Mascot
Black Man Crack head Security
Labourer Lady
45
Dramatic Atmosphere
Scene 1: Psychiatrist Consultation Room
For the first scene, the source / motivation will be from the window with practical tungsten
lighting for colour contrast. I want to achieve a colour contrast in order to express Sophie‘s
mixed emotions, supplemented by her calm environment and raging personality. Sophie
states that she practices her anger management techniques and seems calm in the therapy
room, however, when she is in a frustrating environment [Scene 2], she becomes extremely
irritable and angry.
Possible Shooting Location Scene1 : Phakalane BuidlingJourney [http://www.phakalane.co.za/]
Scene 2: INT. Home Affairs
The lighting will be intensified to be softer in the therapy room to convey a sense of
calmness, whereas in the home affairs building, It will be slightly harder / more direct
lighting style to express the tension and mood of the scene.
46
PD/ CMS Requirements
Scene 1.1: INT. Psychiatrist
Couches
Couches/ carpets/ blinds/ Feng shui elements/ Fish Tank/
pillows/ pot plants / ornaments and statues / tea cup
Scene 1.2: INT. Psychiatrist
Acupuncture bed
Acupuncture Bed/ Hot Rocks / bowl/ towels/ noodle bowl
Scene 1.3: INT. Psychiatrist
flower garden
Build indoor stand/ pot plants/ gardening tools/ Noodle bowl
Scene 1.4: INT. Psychiatrist
Yoga Mat
Yoga section/ Yoga mats/ Small pillow.
Scene 2.1: INT. Home
Affairs
Directional notices/ Photos of Dept. Heads/ Notices on
walls/banana Hawkers stand/ broom for cleaner/ photobooth +
photos of Sophie/ Sticky glue/ Toilet paper/ trash bins/ Spray
paint
Scene 1.5: INT. Psychiatrist
ZEN sandbox
Square sandbox with sand/ harmony rocks/ rake/ incense.
Character Scenes Wardrobe Sophie 1 & 2 - Clothing for psychiatrist: uniform1
- Yoga clothes
- Towels- acupuncture
- Uniform 1: AA meeting
- Loose clothing – Sandbox
- Gardening clothes- flower garden
- Uniform2: Home Affairs
- 3rd
uniform: Mall – Pilot Title
Psychiatrist 1 6 outfits: Yoga/Acupuncture/Couches/Sandbox/AA
meeting/Sandbox
Mall Mascot 1 Mascot Suit.
Street Hawker 2 Casual wear
Black labourer 2 Working clothes- blue over- all
Clerks 2 Semi-Suit Female working clothing + name tags
5-8 featured extras 2 Casual to professional clothing.
Featured clerk 2 Beige skirt and Light blue top. High Heels
AA meeting 3 people 1 Old clothing- T-shirts/Casual
Photo booth operator 2 Khaki suit.
Title Sequence Cast
-Kids
-Patrons
-Sophie
Title
Sequence
Brightly coloured scene. Casual wear for all cast.
Sophie in Uniform 1
Security guard 2 Yellow shirt/ grey pants- black shoes- epaulettes.
47
Action Requirements
The action requirements for Life is hard will be primarily focus around Sophie and her
actions. In scene 1, Sophie and the Psychiatrist are the only characters involved and there is
no loving dynamic. These two characters will have specific staged sequences that they must
perform, but this scene does not involve no major action sequences
Scene two will involve a lot of extras walking back and forth in the background. An Extra‘s
Co-ordinator will give them specific actions that will make the narrative world more
believable. Sophie and the Featured Clerk have staged sequences that relate to Sophie‘s
central character problem. These sequences will be focused on and the whole shot selection
process revolve around Sophie in this scene and all the characters that she connects with.
Shooting Requirements
The shot list does not have any intense shooting requirements. We will shoot on 500T film
stock due to interior locations; Int. Home Affairs/ Int. Psychiatrist Consultation Room.
We will require a hand held Zacuto rig that will allow us to shoot the realism translation style
which will amplify the genre. We will also require a Steady-Cam rig for most of the staged
sequences.
We will shoot on a variety of different focal lengths.
12mm/18mm/30mm/45mm/40mm/120mm/80mm/60mm/70mm/100mm/90mm/75mm/25mm
48
Prose Writing
Life is Hard is a 5 minute television pilot episode about a woman who is sentenced to anger
management after vandalising an office. In a volatile South Africa, Sophie seems to
experience everything on high volume and exaggeratedly verbalises what is on the minds of
many. In this episode all she wants to do was complete a simple administrative task at Home
Affairs which, for her, turns out to be both time consuming and overly complicated. The
series will follow Sophie on a range of misadventures as she attempts to navigate her way
through this complicated country mine-fielded with colourful characters and politically
incorrect situations. Throughout the series, with the help of her psychiatrist, Sophie learns
how to re-channel her relentless nature, to the extent that she is able to make contact with
fellow inhabitants of this crazy planet on a more humane level. The message being that it is
important for us to be able to laugh at ourselves, as a country.
49
Methodologies of acting styles
I have taken Constantine Stanislavski as my mentor in practicing efficient rehearsals and I am
going to use his techniques of improvisation to better the performance of the actress.
Improvisation
Improvisation can highlight aspects of the character that will have to be acutely demonstrated
later, on the set, in a much more economic fashion. It can also free up the inner life of the
characters by widening the range of possibilities that might have been hidden before.
I quote Cathy Haase in her book : Acting for Film (HAASE, Cathy, 2003)
To improvise without parameters can be a waste of time. As in the sense memory work, it is
best to wonder about the possibilities by giving your imagination free reign within a set of
boundaries. You set up the boundaries by asking a specific question, rather than trying to
prove a preconceived idea by forcing it on the improvisation. The right question will lead you
to a usable answer or to the formulation of a better question. You only work on one or two
elements at a time, so that you can explore them fully without overtaxing the acting
instrument. You keep what you feel has worked from one improvisation, choose something
else to work on, and layer it into the next improvisation.
Rehearsals
A director should have a personal rehearsal with his/her actors in order to communicate and
translate the script better to them. During such a rehearsal, the actors may be able to employ
their Inner Monologue to express what they would like to communicate with the text, but are
unable to convey. They can only use this technique sparingly, and then revert immediately
back to the text to try and put into the text what they have just said in their own words. It is a
way of uncovering a moment when there is no time to discuss or hash it out. The impulse
comes through their own words and then goes right into the line that they are supposed to say.
50
―The director/writer supplies an intellectual format or concept that may or may not have yet
taken the form of a script. The actors take the concept on a journey through their imaginary
reality as the concept inspires them. Their imaginary reality elucidates different factors of the
creative concept through action and behaviour. This bounces back to the writer/director, who
formalizes it and throws it back into the acting pit by either structuring it into a script or
making the concept more complex.‖ (HAASE, Cathy, 2003)
Stanislavski‘s Observation Exercise
This exercise asks you to do what you do for many hours every day, but within a preset
amount of time and with keenly focused observation.We spend many hours of each day
walking or driving from one place to another, shopping or eating out somewhere, in an office
or classroom, in an infinite number of places where we come in contact with other people.
Many of them are strangers. Our thoughts drift from what we ourselves are doing to a
streaming internal commentary on everything around us. We do this shift in thought
unconsciously. Now, the idea is to do it consciously.
To frame this exercise, I use a quote of Konstantin Stanislavsky‘s from the book Stanislavsky
on the Art of the Stage.
―One must never think of the theatre as a place for some special sect of dedicated people. One
must never look upon it as a place which is divorced from life. All the roads of creative
human endeavour lead to a manifestation of life as ―all roads lead to Rome.‖ And the Rome
of every man is one and the same; every man carries his entire creative genius within him,
and he pours everything out of himself into the broad stream of life.‖ (HAASE, Cathy, 2003)
1. Choose a public place where you can sit undisturbed for a long period of time—a
café, coffee shop, bar, park, etc., anywhere there are likely to be many people. It‘s
best to choose a place where you are not likely to run into people whom you know,
only because this is an exercise that you must do alone, without familiar company.
2. Bring a notebook for writing with you. It‘s best to write things down uncensored as
they happen, and then read and think about them later.
51
3. Once you‘ve settled down in your chosen place, set your watch for one hour.
4. Observe the people around you, and write your observations in your Journal. Watch,
observe, muse, and write. This is not continuous writing. Most of the time is spent
observing.
5. While you are observing others, observe yourself and how you honestly feel at the
moment. Start to write down these self-observations.
6. Start by writing about what you see around you, or, if you are unable to do that, then
write about how you feel about doing the exercise, then move it to the observations.
Write about the people—who you think they are, where they come from, what they‘re
doing, etc., or whatever aspects about them interest you. While you are doing this, try
to see the creative genius in each person. Don‘t forget to include yourself.
7. When your hour is up, close your Journal and go about your life. Don‘t read what
you‘ve written just yet. Wait. After at least a few hours, pick up your Journal and read
it. As you read, ask yourself some of the following questions:
• Was I honest, and if I was, how do I feel about it now?
• When I started to feel something, what did I do? Did I investigate
• the feeling further, or did I quickly move on to something else?
• If someone seemed to notice what I was doing, how did I react?
• Did I go as far as I could have with my observations of my
• surroundings?
• Was I able to concentrate on the task at hand, or did I ―drift‖ and
• then find myself lost in my thoughts?
• If and when I did this, did I admit it in writing, or was this self-observation
• omitted?
• Did I leave myself and my innermost feelings and observations
• totally out of this exercise? Why did I do that?
• Do I judge people so harshly that I tend to stereotype them, and
• if that‘s true, how would I portray them as an actor?
Each time you do this exercise, you can go a little bit further into the relaxation and
concentration process. (HAASE, Cathy, 2003)
52
Value change of 3 crucial scenes
Scene 1 and 2 are intercut together and this makes it hard to accurately identify the value
charge throughout the narrative.
Scene 1 : Int. Psychiatrist Office
The scene starts off at the Psychiatrist in a positive way. He is talking to Sophie about her
anger management problem and he is giving her guidelines to improve herself.
This scene contains the character binaries of Antagonism vs. Harmony and Anger vs.
Contentment. As the narrative progresses, these binaries are amplified. Sophie is becoming
more relaxed and her anger is reduced. The value charge is positive throughout the scene.
She fulfils the Harmonious and Contentment binaries in this scene.
Scene 2: Int. Home Affairs.
This scene immediately starts off with a negative value charge. Sophie is agitated and
annoyed and her ever increasing anger management problem keeps it negatively charged.
This scene contains the narrative binaries of Constructive vs. Destructive and Submission vs.
Resistance. As the narrative progresses and intercuts with scene 1, the value charge stays
negative. She fulfils the Destructive and Resisting binaries in this scene.
53
Bibliography Arrested Development. Television Drama. Directed by Mitchell HURWITZ. Imagine Entertainment,
20th Century Fox Television, Hurwitz Company,. 2003-2006.
DANCYGER, Ken. 2006. In: The Director's Idea The Path to Great, London: Focal press Elsevier.
DEKOVEN, Lenore. 2006. Changing Direction. Burlington: Focal Press.
Extras. Television Drama. Directed by Ricky STEPHEN MERCHANT. British Broadcasting Corporation
(BBC), Home Box Office (HBO). 2005-2007.
HAASE, Cathy. 2003. Rehearsals. In: Cathy HAASE, (ed). Acting for Film, New York: Allworth Press,
pp.137-152.
INSTITUTE, The Enneagram. 2007. The Enneagram Institute. [online]. [Accessed 23 October 2011].
Available from World Wide Web: <http://www.enneagraminstitute.com>
Kitchen Confidential. Television Drama. Directed by David HEMINGSON. 20th Century Fox Television.
2005.
LYNCH, Art. 2011. Communication Prof's News and Views: Art Lynch's Blog. [online]. [Accessed 18
October 2011]. Available from World Wide Web: <http://art-lynch.blogspot.com/2010/04/maslows-
hierarchy-of-needs.html>
Modern Family. Television Drama. Directed by Christopher STEVEN LEVITAN. Levitan / Lloyd, 20th
Century Fox Television. 2009-.
The Office USA. Television Drama. Directed by Ricky GREG DANIELS. Reveille Productions, NBC
Universal Television, Deedle-Dee Productions. 2005-.
TOBIAS, Ronald B. 1993. Plot of the Mind. In: 20 Master Plots(and how to build them), Cincinnati:
Writer's Digest.
Life is Hard
"Typical" - Pilot Episode [1#1]
Written by
Jenny-lee Schoeman
Adapted by Rowen Smith
MARKED UP SCRIPT
DRAFT 5 - MARKED UP SCRIPT02/11/2011FINAL Shooting & Treatment Draft
COLD OPEN:
INT. PSYCHIATRIST'S CONSULTATION ROOM/COUCHES-DAY 1.1 1.1
Event Beat: The expository beat of the narrative: Sophie’s court ordered appointment at the Psychiatrist begins.
SOPHIE sits on a couch facing the PSYCHIATRIST. She is clearly annoyed. Soft LOUNGE MUSIC can be heard from the patient waiting room.
Subtext: The soft lounge music sets up a calm/relaxed environment.
PSYCHIATRISTSophie, you seem particularly agitated today?
Sophie sighs and rolls her eyes.
Emotion Beat: She does not want to actively participate - this established her central character problem; She is resisting to change.
PSYCHIATRIST (CONT’D)Let's pick up where we left off last week, I really feel like we were making some progress.
Action Verbs: To fall asleep/sleepingly/ To be at complete control of your breathing/ Monotonous tone/
SOPHIE(snidely)
Well doc, I just can't seem to shake the feeling that I'm being watched(beat)All the time..
She looks at the fish tank. The WATER PUMP SOUND is annoying her even more.
Subtext: She starts to disconnect/ Fish Tank Sound overpowers scene/ Everything else becomes silent.
PSYCHIATRISTHave you been using those tools we talked about or have we taken a turn to Negative Town again?
SOPHIEWell, I mean there really is nowhere safe anymore is there? They've even got us registering our cell phones now!
(MORE)
We actually have to take time out of our busy day, drive to the "nearest" cellular outlet to provide them with all our personal information so we can sign away our God given right to privacy and telephonic drug purchasing!
Action Verbs: To hastily speak/ rusingly speaking / to rise and lower the emphasis/ To rudely explain
PSYCHIATRIST(warningly)
Manage that anger Sophie…
SOPHIE(angry whisper)
I mean who do these people think they are?
The Psychiatrist is silently nodding his head with understanding.
SOPHIE (CONT’D)…THEN they have the audacity to promote this painful process by delightfully naming it Rica and proceeding to brand the shit out of it by a guy dressed up in a giant cell phone suit to make friends with it?
Emotion Beat: Her character flaw is revealed in the Pilot Title sequence - Depiction of Anger problems.
CUT TO:
A giant RICA CELLPHONE MASCOT walking in a mall. Sophie runs into frame and tackles the mascot with fury.
PLOT TITLE: “Typical”
FADE TO:
INT.HOME AFFAIRS-DAY2.1 2.1
Proposition: The establishment of Home Affairs and Sophie’s narrative world.
Subtext: The expository montage and accompanying music will relate to a South African audience. This montage will portray the poor and unhygienic and discomforting environment that Sophie finds herself in.
2.
SOPHIE (CONT'D)
Sophie's environment is not established immediately. As her tirade continues it is revealed that she is standing in a very long queue in the Home Affairs office. She is talking at a very confused looking ELDERLY BLACK MAN in front of her. The man and the people behind her have edged away from her causing the rest of the queue to stand cramped together. It is clear she has been talking for a very long time.
Event Beat: Sophie is standing in a long qeue. This sets up the scene.
SOPHIE…And THEN they boldly proclaim that we should count ourselves butt lucky that they provide this service of "Cell phone registration" entirely free of charge! I could even be lucky enough to win up to R5 in free airtime! [BEAT] Well no thank you and fuck-off.
Action Verbs: To express, but to withhold./ Keep the intensity of the scene, but do not evoke any emotion../ letit come naturally.
MCU-SOPHIE ON CAMERA
Sophie is standing far away from the occurring events near the photo booth.
SOPHIE (CONT’D)(to camera)
I mean am I right ?
Action Verbs: to breath it out/ To misunderstand.
Emotion Beat: Sophie’s anger is rising as her day is getting worse.
INT. PSYCHIATRIST'S CONSULTATION ROOM/ACUPUNCTURE BED-DAY 1.2 1.2
Proposition: This is a different reality and it does not follow continuity of time with the Home Affairs events. The Aesthetic harmonious setting is established.
Subtext: The calming and harmonious setting allows Sophie to open up.
PSYCHIATRISTTell me about the incident.
3.
INT.HOME AFFAIRS-DAY2.2 2.2
Sophie is still standing, now slightly sweaty, in the queue, staring at the back of the head of the elderly man in front of her. Every now and then she exaggeratedly swats at a fly BUZZING around her head.
Emotion Beat: She gets frustrated and agitated by the ehatand flies; a catalyst for her anger to rise
Sophie's turn is up next and as she reaches the front, the clerk SLAMS the window shut and leaves for her lunch break.
Sophie TAPS irritably on the glass. The CLERK is eating chicken vulgarly at a little desk across the counter and she points to a notice board reading the office hours. She SPITTINGLY SHOUTS at Sophie.
Opposition: 1st Explosion: Sophie is denied by the clerk.
CLERKOne hour!
Sophie collapses onto her arms on the counter. As she props herself up, her arm sticks to the counter.
Subtext: This makes her even more frustrated and discomforted. Which amplifies the binary codes.
Event Beat: Sophie is denied by the Clerk. 1st Explosion.
Emotion Beat: She admits defeat, but this will not stop her from giving her opinion.
INT. PSYCHIATRIST CONSULTATION ROOM/FLOWER GARDEN- DAY1.3 1.3
Opposition: Sophie’s problem is attacked. Now she moves away from her problem into a resolution. The Therapy scenes affect the protagonist's situation oppositely to the Home Affairs scene.
SOPHIEAnd I mean I have been implementing all the new anger tools we've been talking about. You know like, reaching out to others…
Subtext: The dialogue holds a lot os subtext: Sophie is reaching out to others, but in the wrong way.
Action Verbs: To calm/ To speak every word clearly/ To submit to..
4.
INT. HOME AFFAIRS OFFICE- DAY2.3[1] 2.3[1]
Disgustedly, she turns to the LADY behind her.
SOPHIECan you believe what our country is doing to us right now?
Action Verbs: To force perception/ To questionably demand.
The Lady takes a step away from her as Sophie stares at the overly complicated directional notices on the information board.
Escalation: She makes a bigger dramatic scene by involving the other patrons.
Subtext: The directional notice baord has the Head of Dept.’s face all over it. This is subtext for the reigning Government that is responsible for the weak public sector. Sophie tries to correct this by making comments and notes all over it.
Suddenly Sophie leaves the queue and starts rummaging through her bag. She takes out her a permanent marker and walks over to the notice board and starts writing her opinion all over it. As she does this, she is hurriedly approached by a clearly distressed CLERK.
Event Beat: 1st confrontation: Sophie is in an argument with the Clerk.
Emotion Beat: a confrontation arises and Sophie defends herself, offending the staff of Home Affairs.
CLERKExcuse me what are you doing?
MCU-SOPHIE ON CAMERA
SOPHIE(sarcastically)
Excuse ME! What do you think I’m doing...
Action Verbs: to stretch out/ in disbelief/ disapproval.
INT. PSYCHIATRIST'S CONSULTATION ROOM/YOGA MAT-DAY1.4 1.4
Escalation: Sophie becomes more and more relaxed and understanding to how her problem affects others.
5.
Emotion Beat: She is relaxed and at peace.
Subtext: The yoga session is a place for complete meditation and focus, which motivated the emotional relevance.
SOPHIE…Replacing deconstructive behavior with constructive behavior.
Action Verbs: To whisper/ speak while doing action- speak with effect of action - Yoga stretch.
INT- HOME AFFAIRS OFFICE-DAY2.3 [2] 2.3 [2]
SOPHIEI am helping you.
Sophie continues rip notices off and write comments on the notice board.
Emotion Beat: From the peaceful state, it intercuts with the opposite frustration and anger.
INT. PSYCHIATRIST'S CONSULTATION ROOM/ZEN GARDEN- DAY1.5 1.5
Escalation: She overcomes a small hurdle: she assesses the situation correctly.
Emotion Beat: A complete sense of understanding and calmness is evident in Sophie.
Subtext: Sophie is raking the sand in a pattern. She is blocked by 2 stacked rocks. The psychiatrist instructs her to assess the situation. Sophie them moves around the rocks, instead of knocking them away... this is subtext for her, trying to overcome her anger.
PSYCHIATRIST…Assessing the situation…
INT. HOME AFFAIRS OFFICE- DAY2.3[3] 2.3[3]
Action Verbs: To interrupt/ To Disrespect.
Emotion Beat: Sophie’s anger management problem is now activated and in control of her.
CLERKMiss, please refrain from touching those!
SOPHIEWhy? Are they poisonous?
6.
INT. PSYCHIATRIST CONSULTATION ROOM/AA MEETING- DAY1.6 1.6
Escalation: Sophie admits her problem with others, the first step to recovery.
A bunch of people are sitting in a circular formation. Sophie is in between a SKINNY LADY and FAT MAN.
SOPHIE(with everyone)
…Applying reason before rage…
INT. HOME AFFAIRS OFFICE- DAY2.3[4] 2.3[4]
Escalation: The scene further escalates as Sophie still resists authority.
MCU-SOPHIE TO CAMERA
SOPHIE(to camera)
Look, I'm just trying to redirect the traffic from this one immeasurable queue to several rather more measurable and less death inducing ones..
Action Verbs: To persuade/ To demandingly convince.
Emotion Beat: Her emotive state is a a peak. She cannot control herself and she is now completely antagonised from everyone else.
CUT TO:
CLERKMiss, we need everyone to queue here first because sometimes people forget to bring the necessary documentation and...
SOPHIEWhat we have forgotten madam, are the faces of our loved ones and all our hopes and dreams for the future…
INT. PSYCHIATRIST'S CONSLULTAION ROOM/YOGA MAT -DAY1.7 1.7
Event Beat: Sophie is starting to change. She is being Constructive at the psychiatrist, this amplifies the event- binary : Constructive vs. Destructive.
Sophie and the Psychiatrist are in a yoga stretch.
PSYCHIATRIST…Being empathic..
7.
INT. HOME AFFAIRS OFFICE- DAY2.3[5] 2.3[5]
MCU-SOPHIE TO CAMERA
SOPHIE(to camera)
I can no longer remember a time before the back of that gentleman's head who, bless him, I am sure is going to die before we reach the end of this queue!
The Clerk and the Elderly Black Man (who is within hearing distance of Sophie) stare aghast. As Sophie's rant becomes increasingly animated, the Clerk motions for security.
Event Beat: Now back at Home Affairs: Sophie is Taken out by Security for causing unrest.
SOPHIE (CONT’D)I implore you, let the unfortunate ones, the ones who forgot their "necessary shit" queue here until the Good Lord comes to take them home, but for the love of all things mortal let the rest of us go! I'm asking you to be a hero here! Let me do the people's work!
Emotion Beat: The climactic emotional apex. She loses the argument with the Clerk.
INT. PSYCHIATRIST'S CONSULTATION ROOM/ACUPUNCTURE BED-DAY 1.8 1.8
Event Beat: Sophie is developing as her therapy sessions progress.
Subtext: She refers to her religious views, which implies that Sophie would do what Jesus would do, but in reality, she does the opposite. She confronts and offends.
SOPHIE…You know, regular What would Jesus do stuff..
Action Verbs: To be at peace.
Sophie lifts up her arm and wiggles her WWJD bracelet.
INT. HOME AFFAIRS OFFICE- DAY3.1 3.1
8.
Complication: The climax starts as she is dragged out by security. Her character binaries are fulfilled as she antagonized herself at Home Affairs.
By now SECURITY has physically begun removing Sophie from the building. The queues of people are staring bewildered yet relieved.
Subtext: She screams and shouts while being dragged out of Home Affairs. The dialogue suggests that Sophie actually needs Home Affairs. She accepts that she needs the system.
SOPHIENo Wait! I need a new ID! I have to Rica my phone! You can't remove me! This is my home, and I have affairs!
Event Beat: Sophie is rushes out by security. She protests and causes a dramatic scene in Home Affairs. CLIMAX
Emotion Beat: Sophie is dragged out, She gives her final opinion of what she thinks of Home Affairs, her character binaries has forced her into anger and resistance.
MCU-SOPHIE TO CAMERA
SOPHIE (CONT’D)(to camera)
This is my.. I have affairs !
INT. PSYCHIATRIST'S CONSULTATION ROOM/COUCHES-DAY1.9 1.9
Complication: Her problem is faced head on. It looks like she overcame her problem. Thus , she has recovered.
Event Beat: This is the resolution to the event narrative- Sophie is back where she started, on the couches, talking to the psychiatrist.
There is an awkward SILENCE. The Psychiatrist CLEARS HIS THROAT…
PSYCHIATRISTSo uh Sophie, is there anything you can take away from this session?
SOPHIE(sighs)
I suppose sometimes society expects certain behavior from you. And well maybe sometimes it would be easier to just, you know, go with it…
9.
Action Verbs: To re-assure and submit to a higher wisdom.
PSYCHIATRISTWow Sophie, that's really incite…
MCU-SOPHIE ON CAMERA.
SOPHIE(to camera)
But I mean there are really only so many times you can stand the scab being ripped off your healing wound of logic!
Emotion Beat: Now she is submissive to what the Psychiatrist actually wants to show her. She trust his guidance.
EXT. HOME AFFAIRS BUILDING-DAY3.2 3.2
Revelation: Sophie is arrested and she did not get what she wanted at Home Affairs, all thanks to her central character problem: Anger management.
Subtext: The building is trashed and wrecked. This is done out of vengeance by Sophie
The following day. The whole exterior of Home Affairs is wrecked and trashed with toilet paper and rubbish all over the place. Sophie scratched all over the DEPARTMENT HEAD OF HOME AFFAIRS’s FACE with a permanent marker.
INT. PSYCHIATRIST'S CONSULTATION ROOM/COUCHES - DAY1.10 1.10
Revelation: This revelation flips the entire recovery process on its head. WE assumed that she recovered, but this shows that her central character problem is still with her.
MS-SOPHIE ON CAMERA
SOPHIEBooyah. Anger(beat), managed.
Action Verbs: To confidently provingly confirm.
FADE TO BLACK.
10.
Floor Plan Breakdown
• Scene 1.1/1.9/1.10 INT. Psychiatrist Consultation Room- Couches Shots: 1- 11/57-61/ 63
• Scene 1.2/1.8 INT. Psychiatrist Consultation Room- Acupuncture Bed Shots: 22,23/51
• Scene 1.3 INT. Psychiatrist Consultation Room- Flower Garden Shots: 31- 33
• Scene 1.4 /1.7 INT. Psychiatrist Consultation Room- Yoga Mat Shots: 39/48
• Scene 1.5 INT. Psychiatrist Consultation Room- Zen Sandbox Shots: 41 - 43
• Scene 1.6 INT. Psychiatrist Consultation Room- AA meeting Shots: 45
• Scene 2.1/3.2
EXT. Home Affairs - Day
Shots :13-15/62
• Scene 2.1/2.2/2.3[1-5]/3.1
INT. Home Affairs - Day
Shots: 16- 21/24-30/34-38/40/44/46-47/49,50/52-56
Approximate Shooting Period : 23H15min
INT. Psychiatrist Consultation Room
Fish tank
Flower watering garden area
Jukebox
YOGA MAT AREA
Acu
pu
nctu
re
BED
ZEN – Sand Box
entrance
Group cicle
General Overview of INT. Psychiatrist Consultation Room
Fish tank
entrance
Shots: 1 – 11 / 57 – 61 / 63 Shooting Time Approx: 180min
INT. Psychiatrist Consultation Room Scene 1.1/1.9/1.10 - Couches
Flower garden
KEY
Sophie
Psychiatrist
Camera
1.1# 1 1.9 # 57
1.1# 2 1.1#10 1.9#59,60
1.1# 3 1.1# 9 1.1#11 1.9 # 58
1.1# 4
1.1# 5 1.1# 8 1.9 # 61 1.10 # 63
1.1# 7
1.1# 6
Track Back and forth
INT. Psychiatrist Consultation Room Scene 1.2/1.8 - Acupuncture Bed
Jukebox
Acupuncture BED
entrance
KEY
Sophie
Psychiatrist
Camera
Shots: #22, #23 , #51 Shooting Time Approx: 60min
1.2# 22
1.2 # 23
1.8# 51 Birds Eye
Flower watering garden area
INT. Psychiatrist Consultation Room Scene 1.3 - Flower Garden
Shots: #31- #33 Shooting Time Approx: 45min
1.3# 31 1.3 # 32
KEY
Sophie
Psychiatrist
Camera
1.3# 33
INT. Psychiatrist Consultation Room Scene 1.4 /1.7 - Yoga Mat
Shots: #39, #48 Shooting Time Approx: 45min
Yoga Mat
Small Pillow chair
sculptures
KEY
Sophie
Psychiatrist
Camera
1.4# 39.1 1.7 #48.2
1.4 # 39.2 1.7 # 48.1
Stretches out
INT. Psychiatrist Consultation Room Scene 1.5 - Zen Sandbox
Shots: #41 - #43 Shooting Time Approx: 45min
1.5 # 41
KEY
Sophie
Psychiatrist
Camera
1.5 # 42
1.5 # 43
INT. Psychiatrist Consultation Room Scene 1.6 - AA meeting
Shots: #45 Shooting Time Approx: 30min
KEY
Sophie
Psychiatrist
Camera
Extras
1.6# 45.1 1.6# 45.2
EXT. Home Affairs – Day Scene 2.1/3.2
Shots: #13,#14,#15 #62 Shooting Time Approx: 30min
Hawker stall
KEY
Sophie
Featured Clerk
Black Man
Security
Extras
Camera
S
2.1 # 13 2.1 #14
3.2 # 62 2.1 # 15
INT . Home Affairs – Day Scene 2.1/2.2/2.3[1-5]/3.1
Shots: 16- 21/24-30/34-38/40/44/46-47/49,50/52-56 Shooting Time Approx: 16 Hours
ID Photo Booth
Entrance
# 54
KEY
Sophie
Featured Clerk
Black Man
Security
Extras
Camera
S
1 2
3
2.1 # 20 2.2#30 #34
2.1 # 19 2.2 #25 2.2#27
2.1 # 18
2.1 # 17
2.1 # 16
2.1 # 21 #38 #46 #49 #56
2.2 # 29 2.2 # 28
2.2 # 26 2.2 # 24
# 53
# 52
# 37,40,44,47,50
# 35 #36
# 55
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