THE BLIND SPOT is a psychological thriller that tells the story of Ricardo, a young man driven to a delusional, psychotic state through a lifetime’s experience of jealousy and status anxiety. We wanted to create a sense of unreliability in the audience’s mind, making them question whether what they see in the film is an accurate representation of events.
(Cut this?) Our intention was to show the main character, Ricardo, as a man who feels victimized by the society which surrounds him.
Our film was influenced by several films, notably Scorsese’s Shutter Island (2010) in terms of representing on screen something that may or not be a shared experience, and Harron’s American Psycho (2000) in terms of a character whose insecurities and anxieties lead to violent fantasies.
The audience is left to question...
Showing posts with label Practical Production. Show all posts
Showing posts with label Practical Production. Show all posts
Thursday, July 1, 2010
Thursday, April 29, 2010
Set and Shot Design
Seven:.jpg)
Lighting: Bright and Incident to emphasize they're presence.
Shot Composition: Medium shot, medium angle. Characters in the center to draw the audience's attention towards them.
Costumes: Detective outfit (white shirt, braces, tie and pants)
Props: Badge, Gun
Setting: Small Office, Clock in background, probably designed to be during the 70's.
Lighting: Bright and Incident to emphasize they're presence.Shot Composition: Medium shot, medium angle. Characters in the center to draw the audience's attention towards them.
Costumes: Detective outfit (white shirt, braces, tie and pants)
Props: Badge, Gun
Setting: Small Office, Clock in background, probably designed to be during the 70's.
Thursday, April 22, 2010
Actor's Feedback
Name of director. Lucas Ricardi
Name of film: TULIO
Name of your character: Tulio
Brief description of scene/lines of dialogue: María cries and hugs me (Tulio).
What was the point, dramatic function or purpose of this scene? No idea.
Your character:
Can you give some characteristics of your character; their ‘backstory’: weird young man.
How clear were the instructions given about your character? Very clear; simply: DON’T MOVE.
Did you feel involved in your character? Explain why/why not? Not really, I didn’t have any feelings.
Did you understand the narrative content of your scene: where it ‘fits’ into the whole Short Film? Not really…
Did you understand the relationship between your character and the other characters in the scene? Yes
‘Is the director good to work with?: why, why not? (Be kind! It’s not easy!) Yes he is, although he has some difficulties in explaining what he wants us (the actors) to do.
Name of film: TULIO
Name of your character: Tulio
Brief description of scene/lines of dialogue: María cries and hugs me (Tulio).
What was the point, dramatic function or purpose of this scene? No idea.
Your character:
Can you give some characteristics of your character; their ‘backstory’: weird young man.
How clear were the instructions given about your character? Very clear; simply: DON’T MOVE.
Did you feel involved in your character? Explain why/why not? Not really, I didn’t have any feelings.
Did you understand the narrative content of your scene: where it ‘fits’ into the whole Short Film? Not really…
Did you understand the relationship between your character and the other characters in the scene? Yes
‘Is the director good to work with?: why, why not? (Be kind! It’s not easy!) Yes he is, although he has some difficulties in explaining what he wants us (the actors) to do.
Thursday, April 15, 2010
Short Film Script (not finished)
Script
The Blind Spot
EXT. PEDRO and MARÍA´S HOUSE - NIGHT
Cloudy, winter night. The house is barely seen, and a shadow of a man appears in scene. He is walking towards the house; and once a body appears, it is impossible to recognize it since it is too dark. His name is RICARDO FERNANDEZ, an average low-class, 23 year-old man. Once he reaches to the front door of the house, he knocks. MARÍA, his older sister, opens the door, nods at him without showing any facial expressions, and they both go in.
INT. DINING ROOM
GONZALO, a tall 25 year-old; LUCIA, a gorgeous 24 year-old; and PEDRO, a high-class 24 year-old, who is going to marry MARÍA, are sitting at the dinner table having an informal conversation. The atmosphere is very relaxed.
PEDRO
¿En serio me decís que te gusto?
Meanwhile, MARÍA appears with RICARDO behind her. She sits down; and RICARDO first hesitates for a moment, and then sits down alone.
LUCÍA
¡Y si lo tiene todo! Discusiones, muertes, mentiras, y hasta te deja en duda…
MARÍA
Yo coincido con Lu. Vale la pena verla.
PEDRO
Pero ni siquiera tiene un buen guión. Y lo actores… ni me hagas empezar a hablar de los actores.
LUCÍA
¿Que cosa podrías decir de los actores que fuese mala?
PEDRO
Ninguno de ellos tiene personalidad ni carácter. Básicamente, están ahí para que la pases mal.
MARÍA
Bueno amor, tampoco no exageremos.
PEDRO
Pero si es así. Ojala estuviese exagerando.
GONZALO
Deja Pedro, no te gastes. No te olvides que con las mujeres no se puede ganar.
MARÍA
Escúchalo a Gonzalo que sabe de esto. Y cuando estemos casados, ni se te ocurra discutirme.
PEDRO
Perdóname, a veces me olvido.
Both MARÍA and PEDRO laugh.
MARÍA
Supongo que te quiero igual.
MARÍA kisses PEDRO in the cheek.
GONZALO
Y… Digamos que muchas otras opciones ya no te quedan. Yo siempre dije; algunos matrimonios terminan bien, otros duran toda la vida.
RICARDO
No hables de cosas que no sabes, ¿está bien?
MARÍA
Era solo un chiste. No te pongas así.
GONZALO
Mira Ricardo, no lo decía con malas intenciones.
PEDRO
Está más que claro que es la primera vez que se conocen estos dos…
LUCÍA
Uno va aprendiendo de a poco que Gonzalo es perfecto.
FADE-OUT
INT. INTERROGATION ROOM - DARK LIGHTING
Ricardo is sitting at a table with his lawyer, testifying about what had happened.
RICARDO
¡Los maté! ¡Los maté a todos!
He lightly scratches his nose while saying this. Then, the lawyer looks straight at him in the eyes.
LAWYER
¿Cuando ocurrió esto, Ricardo?
RICARDO feels intimidated. He looks up at the clock which marks 02:34 a.m, and down again.
RICARDO
Hace unas horas.
LAWYER
…
The LAWYER stares at him, and RICARDO realizes.
RICARDO
No se que me pasó. Perdí la cordura. Vi el cuchillo… Y no me pude resistir.
FADE-IN
INT. DINING ROOM
Everyone laughs. Ricardo remains serious.
GONZALO
¡La gente piensa que puede ser divertido ser superior, pero lo que no se dan cuenta es que tenemos que lidiar con todos estos inadaptados de hoy en día!
Everyone laughs hysterically. Except for Ricardo, he is still quiet, immersed in his own thoughts. Suddenly, he speaks.
RICARDO
No es tan difícil. Yo me pude acostumbrar.
GONZALO
Que humilde que sos. Igual, sin ánimo de ofender, me cuesta creer como vos te podrías llegar a acostumbrar.
Everyone at the table, except for Ricardo, laugh again. This time, childish laughs mix in; clearly bringing RICARDO bad memories.
LUCÍA
Gonzalo, no cambiaste nada desde el día en que te conocí. Siempre tan modesto…
GONZALO
Espera, espera. Cuando vivimos juntos, ni una vez te quejaste de mí. ¿O no tengo razón?
LUCÍA
No sé, pero ahora no quiero hablar del tema.
There is an awkward moment, since it is clear that GONZALO and LUCÍA have had a relationship which didn’t end very well. PEDRO then quickly focuses on RICARDO.
PEDRO
¿Y vos, Ricardo? ¿Que tenes planeado hacer de tu vida?
FADE-OUT
INT. INTERROGATION ROOM - DARK LIGHTING
LAWYER
¿Te habían provocado? ¿Intentabas defenderte?
RICARDO
No, no. Pero sentí un odio tan grande hacia ellos.
LAWYER
¿Por qué me decís esto?
RICARDO
Habrá sido porque tuve un día complicado, no sé. Siempre fui una persona diferente al resto, pero nunca creía que era capaz de hacer tal cosa. Y mi hermana…
RICARDO begins to cry.
LAWYER
¿Que pasa con tu hermana?
RICARDO
Ella… ella estaba ahí.
FADE-IN
INT. DINING ROOM
RICARDO
…
PERDO
Ricardo.
RICARDO
Perdón. ¿Qué me decías?
MARÍA
Preguntó qué te habías planteado hacer en el futuro.
RICARDO
Yo no pienso en el futuro; se que viene en breve.
GONZALO
Hombre serio, ¿eh? ¿Fue así toda su vida?
Everyone else already knows that RICARDO has had a tough life, so they think of a way to change the topic. PEDRO notices that RICARDO’S wine-cup is empty.
PEDRO
¿Te sirvo más vino, Ricardo?
Meanwhile, MARÍA gets closer to GONZALO and speaks in a lower-tone of voice.
MARÍA
Tuvo una infancia complicada. Siempre fue excluido por los demás.
GONZALO
Ah discúlpame, no sabía.
We see PEDRO pouring wine into RICARDO’S cup.
LUCÍA
Ya que tocamos el tema; yo creo que el futuro ya no es lo que solía ser.
RICARDO
¿A qué te referís?
GONZALO
Ni preguntes. Nadie la entiende.
RICARDO, as always, still serious. The rest, including LUCÍA, laugh.
LUCÍA
¡Basta Gonzalo! ¿Vas a parar alguna vez? A lo que iba es que las prioridades, y lo que la gente desea para el futuro, ya no es lo mismo que antes.
FADE-OUT
INT. INTERROGATION ROOM - DARK LIGHTING
LAWYER
¿Me estas diciendo que tu hermana era parte del grupo?
RICARDO
Si. Estábamos todos celebrando…
LAWYER
¿Y no hubo ninguna acción previa que haya hecho que vos cometas este crimen?
RICARDO
No lo puedo creer. Ella siempre fue tan buena conmigo.
LAWYER
Ricardo…
RICARDO
Me ayudaba cuando tenía problemas; era la única que se preocupaba por mí.
LAWYER
¡Ricardo! Necesito que te concentres. ¿Estas completamente seguro que ellos no te hicieron nada?
RICARDO
Nada.
FADE-IN
INT. DINING ROOM
PEDRO
Yo siempre seguí un ideal y nunca, en toda mi vida, lo cambié.
LUCÍA
Eso lo entiendo. Pero antes se buscaba el bienestar de la comunidad, que todos podamos vivir en un mundo seguro y sin tener que estar preocupados cada vez que salimos de nuestras casas.
MARÍA
¿Y ahora qué? ¿No crees que la gente busque eso?
LUCÍA
Para nada.
GONZALO
Tiene razón. Uno solo quiere dinero, poder y prestigio social. Después, que cada uno se arregle. Pasamos de un mundo optimista a uno materialista.
PEDRO
Si, supongo que si.
RICARDO
Hablen por su cuenta.
There is an awkward silence.
LUCÍA
Bueno, quiero aprovechar ahora para hacer un brindis por la gran pareja que hacen Pedro y María y desearles un gran futuro, que seguramente vendrá con muchas sorpresas.
PEDRO
Muchas gracias. Y también quiero agradecer a Gonza y mi nuevo cuñado Ricardo por venir esta noche a celebrar con nosotros. Espero que la hayan pasado bien.
They all join glasses to celebrate. Ricardo seems disgusted by these people, but joins in.
LUCÍA
Fue un placer.
FADE-OUT
INT. INTERROGATION ROOM - DARK LIGHTING
LAWYER
Entendes que vas a tener que servir un mínimo de cinco años de prisión por este homicidio negligente, ¿no?
RICARDO
Supongo que es lo mínimo que me merezco. Después de todo, ya no queda nadie que me quiera. Mi única función vigente en este mundo es la de quitarme la vida.
LAWYER
No Ricardo, no digas eso. Voy a tener que…
Suddenly, a co-worker enters the room in rage.
CO-WORKER
Era todo una mentira. ¿Lo podes creer a este ridículo? Estuvo todo este tiempo tratándonos de estúpidos.
LAWYER
Espera, cálmate. ¿Qué pasó?
CO-WORKER
Me acaban de informar que no hay ningún muerto de los cuatro que el testificó haber asesinado; y que esta supuesta cena, fue hace más de dos semanas.
LAWYER
¿En serio me decís?
CO-WORKER
¿Para que te voy a estar mintiendo? Es simplemente otro fracasado que viene con historias inventadas porque no tiene más para hacer en su patética vida.
The LAWYER looks at RICARDO.
RICARDO
¡Y la sangre! ¡Que me vas a decir de la sangre!
RICARDO shows his hands to the LAWYER, which don’t have any blood-stains on them.
LAWYER
Te voy a tener que pedir que te vayas…
RICARDO, without being able to believe what he is being told, gets up and leaves the room in anger.
FADE-OUT
EXT. PEDRO and MARÍA´S HOUSE - NIGHT
The house is barely seen, and a shadow of a man appears. RICARDO enters the scene wearing the same clothes he used at the dinner; although this time he has a gun in his right hand. He is looking at the window of the house, where MARÍA is changing her clothes.
END.
The Blind Spot
EXT. PEDRO and MARÍA´S HOUSE - NIGHT
Cloudy, winter night. The house is barely seen, and a shadow of a man appears in scene. He is walking towards the house; and once a body appears, it is impossible to recognize it since it is too dark. His name is RICARDO FERNANDEZ, an average low-class, 23 year-old man. Once he reaches to the front door of the house, he knocks. MARÍA, his older sister, opens the door, nods at him without showing any facial expressions, and they both go in.
INT. DINING ROOM
GONZALO, a tall 25 year-old; LUCIA, a gorgeous 24 year-old; and PEDRO, a high-class 24 year-old, who is going to marry MARÍA, are sitting at the dinner table having an informal conversation. The atmosphere is very relaxed.
PEDRO
¿En serio me decís que te gusto?
Meanwhile, MARÍA appears with RICARDO behind her. She sits down; and RICARDO first hesitates for a moment, and then sits down alone.
LUCÍA
¡Y si lo tiene todo! Discusiones, muertes, mentiras, y hasta te deja en duda…
MARÍA
Yo coincido con Lu. Vale la pena verla.
PEDRO
Pero ni siquiera tiene un buen guión. Y lo actores… ni me hagas empezar a hablar de los actores.
LUCÍA
¿Que cosa podrías decir de los actores que fuese mala?
PEDRO
Ninguno de ellos tiene personalidad ni carácter. Básicamente, están ahí para que la pases mal.
MARÍA
Bueno amor, tampoco no exageremos.
PEDRO
Pero si es así. Ojala estuviese exagerando.
GONZALO
Deja Pedro, no te gastes. No te olvides que con las mujeres no se puede ganar.
MARÍA
Escúchalo a Gonzalo que sabe de esto. Y cuando estemos casados, ni se te ocurra discutirme.
PEDRO
Perdóname, a veces me olvido.
Both MARÍA and PEDRO laugh.
MARÍA
Supongo que te quiero igual.
MARÍA kisses PEDRO in the cheek.
GONZALO
Y… Digamos que muchas otras opciones ya no te quedan. Yo siempre dije; algunos matrimonios terminan bien, otros duran toda la vida.
RICARDO
No hables de cosas que no sabes, ¿está bien?
MARÍA
Era solo un chiste. No te pongas así.
GONZALO
Mira Ricardo, no lo decía con malas intenciones.
PEDRO
Está más que claro que es la primera vez que se conocen estos dos…
LUCÍA
Uno va aprendiendo de a poco que Gonzalo es perfecto.
FADE-OUT
INT. INTERROGATION ROOM - DARK LIGHTING
Ricardo is sitting at a table with his lawyer, testifying about what had happened.
RICARDO
¡Los maté! ¡Los maté a todos!
He lightly scratches his nose while saying this. Then, the lawyer looks straight at him in the eyes.
LAWYER
¿Cuando ocurrió esto, Ricardo?
RICARDO feels intimidated. He looks up at the clock which marks 02:34 a.m, and down again.
RICARDO
Hace unas horas.
LAWYER
…
The LAWYER stares at him, and RICARDO realizes.
RICARDO
No se que me pasó. Perdí la cordura. Vi el cuchillo… Y no me pude resistir.
FADE-IN
INT. DINING ROOM
Everyone laughs. Ricardo remains serious.
GONZALO
¡La gente piensa que puede ser divertido ser superior, pero lo que no se dan cuenta es que tenemos que lidiar con todos estos inadaptados de hoy en día!
Everyone laughs hysterically. Except for Ricardo, he is still quiet, immersed in his own thoughts. Suddenly, he speaks.
RICARDO
No es tan difícil. Yo me pude acostumbrar.
GONZALO
Que humilde que sos. Igual, sin ánimo de ofender, me cuesta creer como vos te podrías llegar a acostumbrar.
Everyone at the table, except for Ricardo, laugh again. This time, childish laughs mix in; clearly bringing RICARDO bad memories.
LUCÍA
Gonzalo, no cambiaste nada desde el día en que te conocí. Siempre tan modesto…
GONZALO
Espera, espera. Cuando vivimos juntos, ni una vez te quejaste de mí. ¿O no tengo razón?
LUCÍA
No sé, pero ahora no quiero hablar del tema.
There is an awkward moment, since it is clear that GONZALO and LUCÍA have had a relationship which didn’t end very well. PEDRO then quickly focuses on RICARDO.
PEDRO
¿Y vos, Ricardo? ¿Que tenes planeado hacer de tu vida?
FADE-OUT
INT. INTERROGATION ROOM - DARK LIGHTING
LAWYER
¿Te habían provocado? ¿Intentabas defenderte?
RICARDO
No, no. Pero sentí un odio tan grande hacia ellos.
LAWYER
¿Por qué me decís esto?
RICARDO
Habrá sido porque tuve un día complicado, no sé. Siempre fui una persona diferente al resto, pero nunca creía que era capaz de hacer tal cosa. Y mi hermana…
RICARDO begins to cry.
LAWYER
¿Que pasa con tu hermana?
RICARDO
Ella… ella estaba ahí.
FADE-IN
INT. DINING ROOM
RICARDO
…
PERDO
Ricardo.
RICARDO
Perdón. ¿Qué me decías?
MARÍA
Preguntó qué te habías planteado hacer en el futuro.
RICARDO
Yo no pienso en el futuro; se que viene en breve.
GONZALO
Hombre serio, ¿eh? ¿Fue así toda su vida?
Everyone else already knows that RICARDO has had a tough life, so they think of a way to change the topic. PEDRO notices that RICARDO’S wine-cup is empty.
PEDRO
¿Te sirvo más vino, Ricardo?
Meanwhile, MARÍA gets closer to GONZALO and speaks in a lower-tone of voice.
MARÍA
Tuvo una infancia complicada. Siempre fue excluido por los demás.
GONZALO
Ah discúlpame, no sabía.
We see PEDRO pouring wine into RICARDO’S cup.
LUCÍA
Ya que tocamos el tema; yo creo que el futuro ya no es lo que solía ser.
RICARDO
¿A qué te referís?
GONZALO
Ni preguntes. Nadie la entiende.
RICARDO, as always, still serious. The rest, including LUCÍA, laugh.
LUCÍA
¡Basta Gonzalo! ¿Vas a parar alguna vez? A lo que iba es que las prioridades, y lo que la gente desea para el futuro, ya no es lo mismo que antes.
FADE-OUT
INT. INTERROGATION ROOM - DARK LIGHTING
LAWYER
¿Me estas diciendo que tu hermana era parte del grupo?
RICARDO
Si. Estábamos todos celebrando…
LAWYER
¿Y no hubo ninguna acción previa que haya hecho que vos cometas este crimen?
RICARDO
No lo puedo creer. Ella siempre fue tan buena conmigo.
LAWYER
Ricardo…
RICARDO
Me ayudaba cuando tenía problemas; era la única que se preocupaba por mí.
LAWYER
¡Ricardo! Necesito que te concentres. ¿Estas completamente seguro que ellos no te hicieron nada?
RICARDO
Nada.
FADE-IN
INT. DINING ROOM
PEDRO
Yo siempre seguí un ideal y nunca, en toda mi vida, lo cambié.
LUCÍA
Eso lo entiendo. Pero antes se buscaba el bienestar de la comunidad, que todos podamos vivir en un mundo seguro y sin tener que estar preocupados cada vez que salimos de nuestras casas.
MARÍA
¿Y ahora qué? ¿No crees que la gente busque eso?
LUCÍA
Para nada.
GONZALO
Tiene razón. Uno solo quiere dinero, poder y prestigio social. Después, que cada uno se arregle. Pasamos de un mundo optimista a uno materialista.
PEDRO
Si, supongo que si.
RICARDO
Hablen por su cuenta.
There is an awkward silence.
LUCÍA
Bueno, quiero aprovechar ahora para hacer un brindis por la gran pareja que hacen Pedro y María y desearles un gran futuro, que seguramente vendrá con muchas sorpresas.
PEDRO
Muchas gracias. Y también quiero agradecer a Gonza y mi nuevo cuñado Ricardo por venir esta noche a celebrar con nosotros. Espero que la hayan pasado bien.
They all join glasses to celebrate. Ricardo seems disgusted by these people, but joins in.
LUCÍA
Fue un placer.
FADE-OUT
INT. INTERROGATION ROOM - DARK LIGHTING
LAWYER
Entendes que vas a tener que servir un mínimo de cinco años de prisión por este homicidio negligente, ¿no?
RICARDO
Supongo que es lo mínimo que me merezco. Después de todo, ya no queda nadie que me quiera. Mi única función vigente en este mundo es la de quitarme la vida.
LAWYER
No Ricardo, no digas eso. Voy a tener que…
Suddenly, a co-worker enters the room in rage.
CO-WORKER
Era todo una mentira. ¿Lo podes creer a este ridículo? Estuvo todo este tiempo tratándonos de estúpidos.
LAWYER
Espera, cálmate. ¿Qué pasó?
CO-WORKER
Me acaban de informar que no hay ningún muerto de los cuatro que el testificó haber asesinado; y que esta supuesta cena, fue hace más de dos semanas.
LAWYER
¿En serio me decís?
CO-WORKER
¿Para que te voy a estar mintiendo? Es simplemente otro fracasado que viene con historias inventadas porque no tiene más para hacer en su patética vida.
The LAWYER looks at RICARDO.
RICARDO
¡Y la sangre! ¡Que me vas a decir de la sangre!
RICARDO shows his hands to the LAWYER, which don’t have any blood-stains on them.
LAWYER
Te voy a tener que pedir que te vayas…
RICARDO, without being able to believe what he is being told, gets up and leaves the room in anger.
FADE-OUT
EXT. PEDRO and MARÍA´S HOUSE - NIGHT
The house is barely seen, and a shadow of a man appears. RICARDO enters the scene wearing the same clothes he used at the dinner; although this time he has a gun in his right hand. He is looking at the window of the house, where MARÍA is changing her clothes.
END.
Monday, March 29, 2010
Scriptwriting
Favourite Scriptwriters:
Guy Ritchie (Snatch, Rockanrolla)
Quentin Tarantino (Pulp Fiction, Inglorious Basterds)
Mark Boal (The Hurt Locker, In the Valley of Elah)
Screenwriters or scriptwriters are people in a film crew who write/create the screenplays from which films and television programs are made.
One of the most important elements in bringing an idea to fruition for a studio to produce is attaching the right screenwriter to the project. Often projects are sold to studios who then assign their own preferred screenwriters to complete the script or write the final draft.
In all cases, scriptwriters must be able to imagine the effect of their words when they are spoken in a production. It is not enough that the words look good on paper; they must work well when one actor is speaking to another actor.
Oscar winner 2009: Dustin Lance Black (Milk)
Oscar winner 2010: Mark Boal (The Hurt Locker)
An example of how scriptwriters and directors can and have interacted together to make the best out of their productions is through the relationship between Alex Garland and Danny Boyle. Here we may see Alex Garlands opinion towards the response of the audience in their film Sunshine.
Alex Garland, scriptwriter, was asked: How do you think Sunshine will fare in America?
Alex: ``We don't really care about that. When you look at Danny's (Boyle) film 'Trainspotting' you'll see it made more money in the UK than in America - hell it made more money in Italy than in America. Out there we've found that actors tend to drive movies. When my book 'The Beach' was turned into a motion picture that Danny was ultimately asked to direct, it happened because Leonardo Di Caprio liked the story and he liked Trainspotting so he picked Danny and drove the movie forwards that way. We were very much flavour of the month and now we're not, so we're not really worrying about how the film is received.´´
Scripts:
Pulp Fiction
Inglorious Basterds
By Quentin Tarantino
Best for reading: Complete Book of Scriptwriting, by J. Michael Straczynski.
Scriptwriting for the Screen, by Charlie Moritz.
Guy Ritchie (Snatch, Rockanrolla)
Quentin Tarantino (Pulp Fiction, Inglorious Basterds)
Mark Boal (The Hurt Locker, In the Valley of Elah)
Screenwriters or scriptwriters are people in a film crew who write/create the screenplays from which films and television programs are made.
One of the most important elements in bringing an idea to fruition for a studio to produce is attaching the right screenwriter to the project. Often projects are sold to studios who then assign their own preferred screenwriters to complete the script or write the final draft.
In all cases, scriptwriters must be able to imagine the effect of their words when they are spoken in a production. It is not enough that the words look good on paper; they must work well when one actor is speaking to another actor.
Oscar winner 2009: Dustin Lance Black (Milk)
Oscar winner 2010: Mark Boal (The Hurt Locker)
An example of how scriptwriters and directors can and have interacted together to make the best out of their productions is through the relationship between Alex Garland and Danny Boyle. Here we may see Alex Garlands opinion towards the response of the audience in their film Sunshine.
Alex Garland, scriptwriter, was asked: How do you think Sunshine will fare in America?
Alex: ``We don't really care about that. When you look at Danny's (Boyle) film 'Trainspotting' you'll see it made more money in the UK than in America - hell it made more money in Italy than in America. Out there we've found that actors tend to drive movies. When my book 'The Beach' was turned into a motion picture that Danny was ultimately asked to direct, it happened because Leonardo Di Caprio liked the story and he liked Trainspotting so he picked Danny and drove the movie forwards that way. We were very much flavour of the month and now we're not, so we're not really worrying about how the film is received.´´
Scripts:
Pulp Fiction
Inglorious Basterds
By Quentin Tarantino
Best for reading: Complete Book of Scriptwriting, by J. Michael Straczynski.
Scriptwriting for the Screen, by Charlie Moritz.
Sunday, March 7, 2010
Wednesday, October 14, 2009
First short-film
Synopsis:
Begins in an office, bankers working. Jason is the boss, a strict one. He revises everyone’s work done at the end of the day. He finds that Tommy hasn’t done anything, so he starts to discuss with him. In the end, mocking him, he fires him. Tommy goes to a bar, starts drinking, and in the next scene he goes back to his flat (poor area) and tells his wife that he has been fired, and the wife starts crying, while showing Tommy that there has been a card sent to them saying that they owe money or their house will be mortgaged. They fight between them because the wife knows that they will not be able to pay; Tommy says it will all work; wife says: no, it’ll never work. Never. The wife leaves the flat. Tommy does his tie, in front of the mirror. Grabs the gun. Leaves.
Script:
Int: bank. Day.
Bankers working
Jason:
All righty, I want each of you to give me your work right now. Specially you, Tommy, you looser.
Tommy:
Yes sir. No worries.
Clock ticking. Jason revising what everyone has done. Reaches Tommy…
Jason:
You’re pathetic, man. (Spits on Tommys work). You can’t do this little task? Then no more working for you, pumpkin.
Tommy:
But boss, please. I really need this…
Jason: (interrupting)
Come on, get you’re stuff and get out. Shouting: Look at this looser leaving; everyone say bye, bye to him!
Int: Bar. Dark lighting.
Tommy sitting at a bar, waiting for his drink.
Tommy walking to his house
Int: Tommy’s house. Poor building and environment.
Tommy:
Hi honey…
Wife:
DID YOU SEE THIS?!? (Showing him a card from the government). We need to pay a fortune just to keep our flat!
Tommy:
Honey, I need to te…
Wife: (interrupting)
It’s too much money! We won’t live!
Tommy:
I said shut up and listen to me!!! I’ve been fired…OK?
Wife: (crying)
Jesus Tom…
Tommy:
Don’t worry, babe. I’ll make it w…
Wife: (interrupting)
No Tommy, no. It’ll never work. Never.
Wife leaves the flat. Making a loud noise while leaving.
Tommy goes to his bedroom, looks at himself in the mirror, slaps his face.
Tommy:
It’s the only way…
Light disappears (dissolves). Reappears again (as if it was the next day) and there is Tommy doing his tie up in the bathroom. He grabs the gun and leaves.
CHARACTER: Jason Delgado, Banker
PROP: black tie
LINE OF DIALOGUE: It’ll never work
CAST
Jason Delgado: Lucas Ricardi
Tommy: Max Cooper
Wife: Giuliana Bruni
CAMERA SHOT LIST
Location SCENE FRAMING SHOTS Cam/Light Action. dialogue
Bank 1 Establishing shot Day people work
Bank 1 Long shot/Jason Track shot Day Jason talks
Bank 1 Close up/Tommy High angle Day Tommy talks
Bank 1 Close up/ clock E/L Day clock ticking
Bank 1 M/S Jason Track shot Day Jason talks
Bank 1 S-R-S Eye level Day Jason-Tommy
Bank 1 Track shot M/A Day Tommy leaves
Bar 2 side of shot M/A Low Tommy drinks
House 3 wide shot Day Car engine
Room 4 pan shot M/A Low Tommy enters
Room 4 S-R-S M/A Low Tom-Wife-Tom
Room 4 Med-shot Track shot Low Wife leaves
Room 4 Close Up Eye Level Low “…only way”
Room 5 Black - Dark -
Room 6 O/S Eye level Low does the tie
Room 6 POV Track shot Low grabs gun, leaves.
Begins in an office, bankers working. Jason is the boss, a strict one. He revises everyone’s work done at the end of the day. He finds that Tommy hasn’t done anything, so he starts to discuss with him. In the end, mocking him, he fires him. Tommy goes to a bar, starts drinking, and in the next scene he goes back to his flat (poor area) and tells his wife that he has been fired, and the wife starts crying, while showing Tommy that there has been a card sent to them saying that they owe money or their house will be mortgaged. They fight between them because the wife knows that they will not be able to pay; Tommy says it will all work; wife says: no, it’ll never work. Never. The wife leaves the flat. Tommy does his tie, in front of the mirror. Grabs the gun. Leaves.
Script:
Int: bank. Day.
Bankers working
Jason:
All righty, I want each of you to give me your work right now. Specially you, Tommy, you looser.
Tommy:
Yes sir. No worries.
Clock ticking. Jason revising what everyone has done. Reaches Tommy…
Jason:
You’re pathetic, man. (Spits on Tommys work). You can’t do this little task? Then no more working for you, pumpkin.
Tommy:
But boss, please. I really need this…
Jason: (interrupting)
Come on, get you’re stuff and get out. Shouting: Look at this looser leaving; everyone say bye, bye to him!
Int: Bar. Dark lighting.
Tommy sitting at a bar, waiting for his drink.
Tommy walking to his house
Int: Tommy’s house. Poor building and environment.
Tommy:
Hi honey…
Wife:
DID YOU SEE THIS?!? (Showing him a card from the government). We need to pay a fortune just to keep our flat!
Tommy:
Honey, I need to te…
Wife: (interrupting)
It’s too much money! We won’t live!
Tommy:
I said shut up and listen to me!!! I’ve been fired…OK?
Wife: (crying)
Jesus Tom…
Tommy:
Don’t worry, babe. I’ll make it w…
Wife: (interrupting)
No Tommy, no. It’ll never work. Never.
Wife leaves the flat. Making a loud noise while leaving.
Tommy goes to his bedroom, looks at himself in the mirror, slaps his face.
Tommy:
It’s the only way…
Light disappears (dissolves). Reappears again (as if it was the next day) and there is Tommy doing his tie up in the bathroom. He grabs the gun and leaves.
CHARACTER: Jason Delgado, Banker
PROP: black tie
LINE OF DIALOGUE: It’ll never work
CAST
Jason Delgado: Lucas Ricardi
Tommy: Max Cooper
Wife: Giuliana Bruni
CAMERA SHOT LIST
Location SCENE FRAMING SHOTS Cam/Light Action. dialogue
Bank 1 Establishing shot Day people work
Bank 1 Long shot/Jason Track shot Day Jason talks
Bank 1 Close up/Tommy High angle Day Tommy talks
Bank 1 Close up/ clock E/L Day clock ticking
Bank 1 M/S Jason Track shot Day Jason talks
Bank 1 S-R-S Eye level Day Jason-Tommy
Bank 1 Track shot M/A Day Tommy leaves
Bar 2 side of shot M/A Low Tommy drinks
House 3 wide shot Day Car engine
Room 4 pan shot M/A Low Tommy enters
Room 4 S-R-S M/A Low Tom-Wife-Tom
Room 4 Med-shot Track shot Low Wife leaves
Room 4 Close Up Eye Level Low “…only way”
Room 5 Black - Dark -
Room 6 O/S Eye level Low does the tie
Room 6 POV Track shot Low grabs gun, leaves.
Monday, June 8, 2009
Monday, June 1, 2009
Cinematographer
A movie photographer, especially one who is in charge of shooting a movie. The title is generally equivalent to director of photography (DP or DoP), used to designate a chief over the camera and lighting crews working on a film, responsible for achieving artistic and technical decisions related to the image. The cinematographer typically selects the film stock, lens, filters, etc., to realize the scene in accordance with the intentions of the director. Relations between the cinematographer and director vary; in some instances the director will allow the cinematographer complete independence; in others, the director allows little to none, even going so far as to specify aperture and shutter angle.
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