Film 6: director's intent and script

Director’s Intent

Script: Its Kind of a Funny Story (2010)

NAME: Cameron Babcock___________

DATE: _____4/1/16_________________

PROJECT: ____Film 6: Master__________

DP: ______Lauren VanDerwerken___

DIRECTOR’S STATEMENT OF INTENT

This statement of intent is designed to train your mind, eye and heart to shoot purposefully. You should prepare it well before shooting. Briefly—but thoughtfully and specifically—answer the following questions. Be sure to make your answers specific to the assignment as listed on Learning Suite.

1.     What is the story--the beginning, middle, and end--of this scene in three or four sentences? In other words, what happens in this scene as it starts, as it progresses, and as it ends?

Bobby visits Craig at the hospital. He helps Craig get the courage to ask Noelle out. Craig feels like he is ready now to move forward and ask her out.

2.     What, specifically, must the audience understand narratively? How do you intend to communicate that information?

The audience needs to understand that Bobby wants Craig to get the courage to ask out Noelle. We need to learn that Craig’s biggest fear is rejection. We see them role play. We need to understand that Craig feels better about asking her out. I am going to play out the scene in the wide so we can see them shooting the basketball. I am going to use lavs so that we get better sound because the camera is so wide for the majority of the scene.

3.     If this scene is from a longer piece, what is the narrative, emotional and thematic purpose of the scene in the larger story?

The purpose of this scene to build the trust between Craig and Bobby in the story. Craig suffers from anxiety and so Bobby does as well. We get to see them helping each other as they are in the mental hospital. Right after this scene, Bobby opens up more to Craig about his suicidal thoughts and anxiety.

4.     What emotion do you want to communicate in this scene? How do you intend to do this?  

I want to communicate hope. I love the friendship between the two. I love how even though they are in a mental hospital, they try to keep moving forward and lean on each other. I want to communicate this through the blocking like Craig will look down most of the time in the beginning and at the basketball but at the end of the scene he will look up more. I am going to use the symbolism through the basketball shots to show Craig’s feelings. He misses shots at the beginning but after the role play, he makes it. The ball is in his court.

5.     What is the first image of the scene? What is the final image of the scene?

The first image will be an open basketball court before they enter. The final scene will be Craig and Bobby together as Craig makes the basketball shot. I think this will show Craig’s success and it will show their unity as characters.

6.     Why is this scene personal to me? What previous personal experience(s) does it remind me of? Why do I need to make this scene?

This scene is personal to me because my brother was in a mental hospital as well. I love how the dialogue is light during this. I love how the two character support each other in the hospital. I tried to support my brother as much as I could. I would role play with him and I know he would role play with me if it would help the other one ask out a girl. Also, playing sports with friends helps bonding. I have felt that and I think Bobby and Craig are feeling that. They are able to do something together. I want to show that even when we are in difficult situations we still have people around us that support us.

7.     What two visual elements (line, shape, space, tone, color, rhythm, movement) will you use to help communicate the emotion of the scene? (Be sure these elements apply to the assignment as listed on Learning Suite; only choose elements that you have read about or that we have covered in class.)

I will use blue and green to symbolize sadness and happiness. I want the two characters to seem unified. I am going to use the movement of the shooting to show the slower pace of the conversation. Through the blocking when they sit down for the role play, I will speed up the pace a little more to show some frustration and to have contrast. I will use leading lines in the location to help our eyes go to the actors.

8.     What are two or three potential obstacles to creating a successful scene? How can you be prepared to overcome these? Be specific!

Some obstacles that I will have are the basketball, sound, and lighting. Dealing with basketball shots in a scene will be hard for sound and for continuity. I have to make sure the dribbling doesn’t cover the dialogue. I also have to make sure when they shoot I pay attention to that so we can edit correctly. The sound is going to be hard because I am going to play the scene on the wide for the majority of the scene. So, I will need lavs so we can get clearer sound. I hope the lighting overheads will be enough.  I am not sure if the overheads will cut it however the basketball court is so large that lighting it up more will be difficult. I hope the actors will do the same action so that in the coverage continuity is correct.

Part Two:

Master with Coverage: Select a 2.5-3 minute scene from the script of a movie or television show that you haven't seen. Be sure to read the entire script. 

What are the characters actions and intentions? What are the most important images in the scene?

Craig wants to ask out Noelle. He is currently admitted in the hospital. Bobby visits him at the hospital gym. Bobby wants Craig to step out of his comfort zone, have courage, and ask out the girl he likes. Craig is afraid of rejection. They role-play which will be a beat change. When Craig says the line “rejection” that is a beat. When Bobby says, “you’re ready” and shoots the basketball that is the falling action, which will be a beat. The most important images are the two in the court, the basketball holding, and the two role-playing.

Create a first draft of a shot list. Where do you see wide shots? Two shots? Close-ups? Don't worry about storyboards yet--just think about capturing the key moments of the scene. 

I am going to do a wide for my master. The camera will be behind them. I want to reveal their faces after the missed shot. Then, we will punch in and do many shot reverse shots. I am going to stage the role-play next to the court on the bench. I have to make sure I capture the role-play lines.

-Block the action of the entire scene--ideally by working with your actors. What happens in the scene? Who goes where? Don't get too artsy or deep just yet! Simply block out what goes on, what people do, in the scene. 

The action will happen all in the basketball court. I will use the basketball rim to divide them for surface division. I will use the shot of the basketball to represent Craig’s feelings. They will stand there staring at the rim but then move to the nearby bench when they role-play the asking out. Then, they will go back to the rim and Craig shoots and scores. We will end on Craig looking down at the ball after Bobby passes the ball to him after he scores.

Scripted One Take: "Bridge of Spies"

Scene:

Director’s Reflection

            Nothing like being on set after you have stayed awake for 25 hours straight. Luckily, my adrenaline kicked in and I felt pretty good directing this thing. I thought Cooper, the main actor, was excellent to work with. He came memorized and he took direction very well. Brett was very helpful and we had much collaboration on our lighting and blocking of the camera. I wanted to shoot in black and white and I think it turned out nicely. I wanted the camera to be even closer in the beginning to the actor’s face but the table was huge and it would have been more difficult. Britany did fantastic with our sound. We had two back ups which was nice, one file from the h4n and one from the lavs. I only found one actor in time for our shoot so I had to do act for the other character. It was a way different learning experience though. It was interesting that based on my acting and delivery my other actor would react differently so in giving direction, I could put that in my performance and that would influence him to where I wanted him to be. It was interesting to connect with Cooper as a director to actor and actor to actor. I wanted him to feel comfortable in that and we spoke before shooting that I would be the other guy. I think since we were so skeleton crew that it was easier for me to do this because I know with a bigger crew it would have been more difficult. What was tough is that I didn’t watch monitor during the scene. I had to focus on performance and I only looked after. I missed some things as far as specific deliveries on some lines that I wish I could have changed. I learned a lot on this shoot.

Photos 10

 Photo 1:
   I love Deer Creek Reservoir. I love the water with mountains. We had some blue skies above. I tried giving more space for the water and for our eyes to follow the waves towards the mountains.

 Photo 2:
    The powerful, intimidating organ. I love the amount of keys it has. I wanted to capture the power of playing the organ. There are so many options for keys.

 Photo 3:
    I was going for frame within a frame. The chair got in the way a bit, but I wanted to emphasize the flag. I was shooting through black bars. I don't like the stairs that are lit up top. That draws the eye away.

 Photo 4:
   I got lens flare on my Iphone. Here are the seats in the Marriott Center. The lens flare helps the curve feeling of the seats. The lights helps us with movement.

Photo5:
    The inside of the Marriott Center. The microphone blends right in. The black blends in the background and I wanted to hide it. I think our eyes go straight to the Y, then if you look at it longer then the microphone will be noticed.

Photos 9

 Photo 1:
    I loved the rhythm of the movies and the books. I think it's cool how organized one can feel seeing this. I love how the colors spread throughout the frame.

 Photo 2:
    I love the ryhtym of the bars that surround this lock. I also love the different colors on the lock. I like to see how rusted things can get yet it still serves its purpose.

 Photo 3:
    I like the way the inserts are presented. There are two chords plugged in but the first two are empty. Also, the first two are silver so that contrast helps them pop out.

Photo 4:
    I was going for the yellow in the frame. I liked how the eye can follow the yellow within the frame. I wish the yellow contrasted even more. The many chords for the organ.

Photo 5:
    I like the blown out windows and door. We get to focus on the lines and borders within the room. I love the hotspot on the floor. This was my location for my shot for shot.

Shot for Shot: Part III

My Shot for Shot:

Director's Reflection:

     This project was enlightening because you had to put yourself into the filmmaker's shoes and mind. I learned how purposeful each shot has to be in your story because time is sacred and whatever is in your frame needs to help the story move along. Working with Sariah went very well. There is much camera movement in this scene. She had the camera on the rig the whole time and she performed well. I thought the actors did pretty well in being in character and trying to recreate this scene. As a director, I learned how important blocking and movement with the camera is because the camera needs to exactly know where the actors are going and doing. The lighting was tough to recreate because our Arri kit was so powerful in such a small room it blasted the whole room up. We used practicals and china balls to help us with our lighting. One of our lightbulbs went  out so that stunk. Also, I failed in trying to get more of a contrast like in the original as far as shadows go. I messed up on Tommy's blocking at the end. I learned how just one turn and can screw up an edit if you didn't capture it on set. In the future, I want to pick another scene and do this exercise because I learned how important lighting and camera set ups are to your story.

Shot for Shot Part II

Click this link to view my part II for The Warrior Shot for Shot

Shot list
Lined Script
Lighting Overheads

https://drive.google.com/drive/folders/0B80aLZbp6f8baVJKNHJUaGNxbUE

Shot for Shot: Analysis Part 1, Warrior

The Original Scene from the film

Begins after the opening title to the line "Just twelve", 4:54 time

This is the opening shot of the scene. Tommy has entered his dad’s house. He hasn’t been there for twelve years. The lighting establishes the low key lighting throughout the whole scene. Heavy shadows are in this scene. The camera movement will be a tilt up.

This is the end of the tilt up at Tommy. We see Tommy look around the house like a visitor would. Tommy is barely in the light to even show that he has been in the shadows for the past years. There is an orange/green tint as well. Also, we need to make sure that light is hitting the door and creating that nice texture on the wall to his right. We are still getting detail in his jacket though so we need to bounce just enough light onto his front.

This is the first cut we get onto the dad in the scene. He is in the kitchen making coffee for Tommy. This is important because he is not making Tommy or himself a drink because the dad has been sober for a long time. We establish the kitchen and there is another tilt down in this scene. We see the dad and then we see the coffee. The low key lighting is still present and we keep his face in the shadows like Tommy’s.

The camera follows Tommy’s back in most of the shots. We follow him look around his dad’s house. In this scene, the camera and the lighting hide both subjects’ faces a lot which is symbolic. Their relationship isn’t strong. There is much tension between them right now. Forgiveness still needs to be made from Tommy’s end to his dad.

This shot is important because we understand more about the dad. We see the glasses on the Bible which says so much. This image says that the dad has been reading the Bible and has been trying to get closer to God. This is a great shot because this sets up Tommy accusing Paddy, the dad, for reaching out to God and not out to him or his mother. They talk about that later in the scene. The power of art in film is incredible and how it helps the story. We still have the low key lighting and this is still handheld.

This a shot on Tommy staring at the Bible and the pictures of his brother on the table. We see that he is still not fully lit. We have a nice practical in the shot from the lamp. The curtains create some great flat space. This shot is still handheld.

This a fantastic wide shot of the place. We get more established of where this is happening. We see the kitchen and we see the living room where Tommy is walking. We see Paddy in the background. We see how dark the rooms are which says much about their relationship and also how Paddy is a single man. The house is quiet and they are alone. This helps us see the low key lighting. This is a static shot.

We are still in low key lighting. We now see the frames that Tommy is seeing. We are handheld. We are getting some nice hair light on him and we get some light on the frames. Tommy is now reminded of his brother. His brother, he would say, is the better half and he has the better life. This starts to build the relationship status of Tommy and his brother.

Here are the pictures that Tommy is looking at. We are handheld and we are right by Tommy. The wrestling picture establishes that they are both fighters which the title is The Warrior. Having the two pictures of the brothers right next to each other is smart because as a viewer we compare the two, which this whole movie you are doing that very thing. We need light right on the pictures and that’s pretty much it for lighting.

This is Paddy’s entrance with the coffee. We see has two coffees. He is trying to be a nice father and share with his son which sets up how the dad will share his talents and train Tommy later in the story. We see more of the house. The low key lighting is still present.

We are handheld and we are right by Paddy. We see the coffee clearly and we see how it is not an alcoholic drink. Paddy is trying to share with Tommy. We get some variety from the other shots so we are tight on the coffee. Only the coffee and hand are lit.

We get Tommy’s reaction to the coffee. He is upset. He thinks he should get offered an alcoholic drink. He tries to rub the pain in his dad’s face. We have some key light coming in from the right and the left is very dark. We still have that green tint. We are handheld here.

The handheld shot becomes a OTS on Tommy. We get Paddy’s shoulder in frame. This is a nice framed shot. The lighting is similar to the last shot. He expresses his frustration with him as he holds his own drink in a sack next to his waist.

Now we a reverse shot on Paddy. The key light is in the same place for Paddy. We will fill the right side just a little. This is when Paddy says he has been sober. This dialogue is important so we are nice and tight. They are face to face like fighters are in a ring.

Here, Tommy gets closer in the OTS like a fighter does in the ring. He is only lit on the key side and that’s it. We have a little hot spot on the eyebrow which I want to recreate. Paddy is very dark. We are still handheld here.

Tommy is disappointed in Paddy’s response. The lighting is the same from the last shots except we need more light on Tommy. He has some hair light on his hoody. Paddy explains why he is sober. We are still handheld.

This shot is important because Tommy drinks right in front of his dad right when he just said that he is sober. Tommy has the hard key light on the right and then very dark on the the left. The drink does not get that much light. This is one of the most powerful shots for the story.

Tommy puts his liquor right next to the pictures. He drinks because of his past. There are the two brothers next to the liquor so now we compare all three. All three are lit. We are hotter onthe left side. We are handheld here.

Paddy is disappointed in his son. This is a great reaction shot to Tommy. Paddy shares info on his brother’s success. We have the nice practical again. Here, we have more light on the fill side. We have a nice shadow from the hat on Paddy’s face. We have a shallow depth of field with these two shots.

Here is the brother now with his family in this shot. We see more frames. There are nicely lit. We still have dark on the sides of frame. We are handheld here and we need to be eye level on the pictures so that our eyes go right to the pictures.

I love this shot. The lighting is awesome. We barely light Tommy so that we get detail of his front and we light his back more. The nice light in his eye is just enough to see. I know this will take time to recreate. We are still handheld here.

Here is another two shot and it is very similar to the last two shot of them. The lighting is similar. Paddy now covers more of the lamp. The background is darker than the foreground. We are handheld here.

Tommy picks up the frame of his brother’s family. The lighting is more on the frame and the hand instead of his arm. The low key lighting is present. We are handheld still. We see the picture come closer to Tommy.

Now in this scene there is some fun with the 180 line. We have a two shot of Paddy in the background and Tommy staring at the frames. We have the practical light hitting Paddy’s face and we have a practical hitting Tommy’s face in the front. Here we are nice and wide. We get the door line splitting up the two to create that separation.

The pictures of the past hit Tommy in the face. His memories come back to him and he sees his wrestling pictures. We are handheld here and we create an OTS. We have harsh shadows coming from the frames so we need to have the light coming from the bottom left.

Same concept here with the pictures in front of Tommy. We get a sense of the family from the pictures. We are handheld still and these pictures do not have as much light on them.

Here we are back on the wide two shot of the two. The light from the practicals help us here. We still need to fill in the middle so we get the detail of the separation. Tommy’s face is down once again which reflects his attitude towards his brother.

Tommy picks up the picture of his mom and him. We are handheld still and the lighting is pretty dark. We have the green tint still. We need to be careful with the reflections coming from the pictures.

We see Tommy turn towards Paddy. We see the practical and we have nice levels here. Tommy is standing and Paddy is sitting. Tommy holds the picture of his mom and here he talks about his mom.

Here we have the two face lighting, the low key lighting. We have a hotspot on the picture on the right. This is a great reaction to his mom’s death. The key light is coming from the left. We are handheld still.

Here we have the two shot again but we are not as wide as we usually are on the two shots. The camera will be further back from the subjects. We have a nice warm patch of light hitting Tommy’s face and ear. The practical of the lamp really helps us with Paddy.

We jump the 180 line! But since we are well established in the room and we are handheld, it is not very distracting. Tommy confronts his father for being a drunk and being out of his life. The light still hits that frame with his brother which is is nice because its like if the brother is there.

To recreate this OTS we need to be a shallow depth of field, look at that shoulder. Crazy. The practical works nicely for key light and then we need to fill on the right a bit. We are handheld here. Paddy is apologizing. We are at a high angle to show the power of Tommy.

We have the nice low key lighting. We are low angle now and still shallow depth of field. The key is on the right side of Tommy and the light is wrapping around his face. We will have some fill on the left side.

We move in a little tighter on Tommy when he takes a drink. He still doesn’t care that his dad is trying to stay sober. Tommy is bitter. The light isn’t as harsh on Tommy. He is coming more in the light. We still need to have a shallow depth of field because of Paddy’s shoulder.

We move in tighter on Paddy. We still have a shallow depth of field. The practical light is our key light. We will bounce a little on the right side. Paddy stays sitting and shares with Tommy that him being sober is real to him and it matters to him. We are at a high angle.