Posts Tagged ‘script’
May 23rd, 2009 Posted 11:37 PM
Before our real shooting day, Paul suggests us to pick one scene of our favourite drama and analysis technique methods of it. I picked Gossip Girl , not only because it is my favourite ( I do love it actually), but also it is similar with the script we gonna film tomorrow. Anyway, Good luck to all the group members!
1st shot: foreground : CU of Chuck: moves from left to right
Then Blair’s voice comes first, then Blair comes(M to MCU)—2nd short (left to right) connected to the next shot . 3rd shot : Blair’s face to the screen, Chuck opposite as foreground but out of focus
So we can see this scene Blair is the important part , because she is on focus, got more light on her face, sound is louder than Chuck’s (maybe not in tension)
4th and 5th shot are similar with 2nd and 3rd shots, but camera moves towards the characters, which makes audience more into what is happening between them.
6th and 7th shot : MCU of B and C, similar with d4th and 5th
8th Blair moves towards to C, movement continues , then cuts to 9th, quickly cuts to 10th(but at the other side)
…… 14th : B”I love you” , CU of B and C. fast cuts to CU of C, at the same time, camera tilts (right?) up a little bit in a smooth movement. It shows the C’s reactions and he is not like looking down , so means the situation or the inside of the character changes. (15,16 ) 17 th CU of C , out from screen
18 car leaves
19 MCU of B ,looks to the right side
I love the colour of B’s dresses, also matches with V’s dress. Both delightful, works with the candle’s light and window’s sunlight.
1st scene: dark exposure, classical cuts for two people’s conversation . depends on the atmosphere.
2nd strong contrast with the 1st scene: bright dinning scene, lighting on people’s head, hair and background
3rd: I like the position of this conversation scene : lighting is balanced by comparing previous two shots , S walks to R , camera quickly moves from S to S and R. And several smart quick cuts follows of two people’s eye lines.
When S comes to D’s room, Camera moves smoothly follows of D’s eyeline : from CU of Dan to the door -→ Door opens, S comes in.
Last shot may be useful for our ending scene shooting : CU of S and D, cut, outside view of them (shadow, light) , camera moves away .
April 12th, 2009 Posted 4:30 PM
After I read this week’s reading, that I learnt more about script writing: a script should deliver a story effectively at very least.
And there is the method that the reading taught us that we need to keep it in mind:
Interior or exterior setting
FLASHBACKS/FLASH FORWARDS & OTHER VARIATIONS:
Must note this in the scene headings of every relevant scene, not just the first flashback or dream.
And the reading also notes that , the flashbacks should not interrupt the forward flow of the story, should make it provide a powerful introduction to the story.
MONTAGES & SERIES OF SHOTS
We should be clear about montages, so we can make good descriptions of montage and shoot real montage sequences. The montage is
Conveys passage if tune
a series of events as quickly and conveniently as possible
a series of shots has the same purpose have a fairly simple layout logic
in one scene heading, describes each part of montage or series below.
Too many will makes the story cheesy
Should think about it is worthy or not for changing locations and more workload
The space we are going to see
All action which takes place prior to dialogue being spoken
Music, and any incidental sound
POINT OF VIEW
Like interior view of exterior action
SUPERS-TITLES,SIGNS etc-usually indicates time and /or location
Should be separate from action passages/scene desctiptions by a double space
headed by the speakers’ names
Follow directly beneath
Directing the dialogue: can specify the tone, volume etc
OFF-SCREEN (O.S) /VOICE-OVER (V.O)
TECHNCAL DIRECTIONS :
March 29th, 2009 Posted 8:59 PM
This is an ordinary primary school classroom, but seems there is a extraordinary boy —his name is Tommy. Four girls are sitting around him and talking to him excitedly. Tommy’s face shows a kind of pride.
What did you have for your breakfast, Tommy?
Well, nothing special. Coke can, milk, package of milk, egg and egg shell…⋯
Oh my god, Tommy. You are just like a super man!
He is! (Turn to Tommy) Tommy, I have a surprise for you.
Girl 3 gives Tommy a beautiful box.
Tommy opens the box, and then smiles.
In this box, there are a lot of pretty erasers: fruit, flowers and cartoon images.
(she gives Tommy the prettiest one)
Try this, Tommy.
Tommy put the eraser in his mouth,
(XCU) Tommy swallows.
then he smiles again.
Those girls clap loudly.
How’s it, Yummy?
Tastes good, thank you.
Tommy looks out of the window, he sees Emma passing by. And he becomes so excited. He runs out of the classroom immediately.
2. EXT. HALLWAY. DAY
Hi, Emma! How are you doing?
Well, nothing special. I got A for my math again.
(keeps following Emma)
You are genius! That is why I love you so much.
Sorry, Tommy. I cannot be your girlfriend.
Oh my god, why?
Because I do not believe you love me.
I do love you. How can I prove my love? Emma, I can do everything for you.
(stops and stares at him)
YES. I swear.
Can you eat one thing for me?
Of course, you know me very well. That is
That is what I am good at.
3. EXT. FEMALE TOILET. DAY
(CU) female toilet
They stop at the front of female toilet.
Wait for me.
Then she goes into the toilet.
At the same time, some curious girls come and they wait outside with Tommy.
(MCU) the door opens. Emma comes out with a mental box, then gives it to Tommy.
Oh my god, she wants Tommy to eat her poo!
(MLU) GIRL 1 & 3 & 4 (surprise)
Tommy watches the box and thinks for a while, then walks away. He seems a little bit hesitate.
(MLS of Tommy’s back) he turns his back to those girls. (MS) And opens the box (Worms eye) (CU of Tommy’s face), he stares at the inside of the box.
Then he turns back, smiles to those girls.
Fade to black.
4. Black (O.S)
Emma, I can do everything for you.
YES. I swear.