Shooting script

Shooting script document

Screenplay

FADE IN:

INT. A GIRLS BEDROOM – MORNING  

ROBYN wakes up and climbs out of bed whilst grumbling. She stumbles along her dark bedroom and goes to the bathroom and starts running the shower.

INT. HALLWAY – MORNING

Robyn puts on a black backpack over her black bomber jacket on top of a black hoodie accompanied with a black t-shirt, black ripped jeans and ties up the laces to her black walking boots. She exits the house.

EXT. TOWN STREET – MIDDAY

Robyn looks to the ground as she walks through the street passing various shops and cafes. She makes her way to the train station, but as she arrives, the train leaves the platform. She throws her head into her hands and sighs, looking up to the sky and brushing her hair behind her ear, looking around frustrated.

A girl DELILAH walks past her, and Robyn hears the music playing from Delilah’s earphones. Delilah is listening to WALKING ON SUNSHINE (KATRINA AND THE WAVES.) Delilah has blonde hair that is kept put of her face with a pair of sunglasses placed on the top of her head. She is wearing colourful bright clothing with a flowery backpack.

Delilah walks through the train station car park, and around the corner out of sight. Robyn follows suspiciously, keeping her distance but watching Delilah intensely as she makes her way through the town. Delilah turns a quick corner and is again out of sight. Robyn runs after her and as she turns the corner, she bumps into a boy MYLES, who is wearing blue jeans, a black t-shirt and a black hoodie.

MYLES

(Out of breath)

Sorry!

Robyn raises her hand in an apologetic wave and continues to run after Delilah, catching up with her again but keeping her distance. She watches Delilah walk up a hill, and follows her on the opposite side of the bridge, crossing the road whilst Delilah turns the corner onto a small road lined by houses on either side, passing by the local fish and chip shop. Robyn follows, turning the corner behind the chip shop to find that Delilah has disappeared. Robyn turns around suspiciously, scanning the road for Delilah, but she is nowhere to be found.  Robyn walks down the small road and looks to her left, where she see’s a flash of colour through the bushes. Robyn parts the bushes and begins to walk through them as the branches scrape across her face and body, and she sees yellow paint on a branch beside her. She looks confused, and sees a metal fence that has been prised open. She pokes her head through the gate, and watches Delilah walk into the building like she had been there before. Robyn smiles and follows her, walking towards the abandoned factory.

INT – ABANDONED FACTORY – MIDDAY

Robyn sees Delilah making her way up a flight of stairs to the first floor. The room is large and scarce. There is a singular brick wall that comes halfway into the middle of the room, leaving the entire room open. The perimeter of the room has windows, some are smashed and others are still intact but dirty. The walls are covered with colourful paint and graffiti.

                                                                           

Robyn follows her up the stairs, and hides behind the wall as she watches Delilah. Delilah stands in the middle of the room and places her backpack on floor. She stands back up and takes her earphones out of her ears, and unplugs them from her phone. She lays her phone on the floor, and WALKING ON SUNSHINE continues to play (non-diegetic.) She crouches down and opens her backpack to reveal red, yellow, blue, green and pink spray paint cans. She walks to a wall and begins to randomly spray paint in no particular order or pattern, just painting for the fun of it. Robyn looks around the room but keeps hidden as she admires the graffiti around the wall that Delilah had done previously. She looks back to where Delilah was stood, but she, along with her belongings, are gone. Robyn comes out from hiding and looks at the wall where Delilah had been spray painting a sun and miscellaneous clouds.

CUT

INT. ROBYN’S BEDROOM – NEXT MORNING

Robyn opens her eyes and smiles. She runs to the bathroom, has a shower, heads to the hallway and ties up her boots wearing the same outfit as the day before: a black backpack, a bomber jacket, a hoodie, a black t-shirt and ripped jeans.

EXT. TRAIN STATION – MIDDAY

Robyn waits at the station excitedly, tapping her toes and holding on to the straps of her backpack, looking around the station for Delilah. The train arrives, but Delilah is not seen leaving the train. Robyn sighs and slumps slightly, turning around and walking out of the station. She looks up and sees Delilah turning the same corner as before, and Robyn skips excitedly towards her, following her towards the factory once more.

INT. ABANDONED FACTORY – FIRST FLOOR – MIDDAY

Robyn watches from the side again as she sees Delilah take out her earphones, and YOU MAKE MY DREAMS (REMASTERED – DARYL HALL & JOHN OATES) plays (non diegetic.) This time, Delilah carries a bucket of bright pink paint. She holds the paint outwards and begins to spin as paint flies everywhere, and Robyn and Delilah laugh. As the bucket empties, Delilah puts her backpack back on and takes the bucket with her and leaves.

Robyn walks into the middle of the room where Delilah was stood. She crouches down and touches the wet paint with her finger and stands back up. As she leaves, she walks through the paint, leaving behind pink footprints as she leaves.

CUT

INT. ROBYN’S BEDROOM – NEXT MORNING

Robyn opens her eyes and jumps out of bed. She runs to the bathroom, has a shower, heads to the hallway and hurriedly ties up her boots wearing the same outfit as the day before: a black backpack, a bomber jacket, a hoodie, a black t-shirt and ripped jeans.

EXT. STREET CORNER – MIDDAY

Robyn waits at the corner of the street that Delilah has turned down for the past two days and waits with high levels of anticipation for the colourful girl to appear again so that she can follow her once again into the abandoned factory to watch her creating her art again.

As Delilah Returns to the corner and turns down the street Robyn crosses the road and follows her across the road and down the street into the factory again following her up to the first floor via the staircase.

INT. ABANDONED FACTORY – FIRST FLOOR – MIDDAY

Delilah stood in the middle of the large empty room sets down her bag. Robyn starts to approach her. Robyn gets closer and closer but Delilah and still does not turn to see her. Robyn touches her on her shoulder and she turns to smile at her. They hold hands and start to spin as Delilah starts to disappear and Robyn is wearing her colourful clothes spinning alone. She was Delilah all along but could not see her true worth. 

Orson Welles

Orson Welles created 13 films:

• Citizen Kane 
• The Magnificent Ambersons 
• Journey into Fear
• The Stranger
• The Lady from Shanghai 
• Macbeth
• Othello
• Mr. Arkadin
• Touch of evil
• The Trial
• Chimes at Midnight
• The Immortal Story
• F for Fake 

Welles struggled with the studio's on all of his films, a lot of the time they were recut against his wishes. He was a visual showman and used miss en scene and magic within the background to to amaze moviegoers. As an auteur, he uses smoke and mirrors, high key lighting and low key lighting, chiaroscuro, and deep focus where everything in the shot is in acceptable clarity. 

An example of smoke and mirrors being used is in The Stranger, The Magnificent Ambersons, The Lady from Shanghai, Citizen Kane, and Touch of Evil. 

Amy compared to Kim Longinotto's theory

The documentary 'Amy', by Asif Kapadia shares a lot of similarities with Kim Longinotto's style of work, in particular - Divorce Iranian Style

Winter's Bone Notes

• Men have ultimate power over women
• The town is influenced by drugs, shown when Teardrops wife offers Ree a 'duby' 
• Took two years to find the location areas, real areas
• Hardly anything created by set designers 
• Shot in pedestrian places 
• Rural, rustic looking locations
• The costume design was done by doing a clothes shop with people in the community and at charity shops etc, nothing was brought new 
• Super 8 camera used during the scene where the trees are being cut down 
• It takes active spectatorship to understand why no one trusts Ree 
• No non-diegetic sound so the audience must be active to understand the mood and must feel emotion for themselves 
• Half shadow face to show the serious characteristic of Teardrop. 
• Teardrop is more intimidating and scary that the policeman and scares him away by showing a gun, indicating he will do something bad 
• Teardrop puts himself infant of the gun and Ree and takes ownership and protects her 
• Active spectatorship to try and understand what the policeman did and why teardrop has some sort of power and hold over the policeman 
• Everyone in the community seems to know what happened to Ree's father apart from her 
• the lens flare shows the low budget and production used for this film, gives a more realistic film to the film
• Teardrops swearing shows the language that the entire community uses 
• the mies-en-scene in teardrops home shows a lot of drug use and animal resemblence 

Winter's Bone Essay

Winter’s Bone Essay

In the opening shot, we are shown a large area of rural land that is dotted with dead looking trees, 
dry bushes, old, rusty looking vehicles such as a caravan and an old school bus and a truck . 
The mise en scene included in this shot is very old, and looks used and worn. The bleakness and 
dullness in the lighting of the shot also gives a ethered feeling to this area, and makes it seem almost 
depressing and dark. This place does not look like the rest of the USA, and seems very isolated and 
separated from the rest of the world.  In the next shot, we see two children playing together jumping on 
a trampoline. In the mise en scene, again, everything seems run down and poverty stricken. The 
trampoline is obviously old, there is rusty piled up chicken wire, old baby toys and lots of wood shown 
in this rural area. In the next shot where we see the children holding the puppies, their ragged and old 
looking clothes could indicate this family's financial insecurity, further supported by the fact that the small 
newborn puppies are kept in a box outside in the cold. As the children play on the skateboard, from their 
clothes and the broken down and rusty lawnmower in the background, the financial insecurity and poverty 
that this family live in is very clear. I feel like Winter’s Bone relies on the viewer knowing the social context 
of the film before watching, as throughout the film, the poverty and financial insecurity are never explained.

In another scene we see Ree at her uncle’s house where she asks to borrow the truck. At first, 
she asks her uncles wife, but we see her cower under the fear of her husband as she does what he 
tells her to do. In this scene, we are first introduced to drug usage, violence and domestic violence. 
Here, I think that knowing the social context is important as without it, we would have no idea as to why 
the men in this film are so violent, and why the family is so divided with Ree. The sense of kin between 
everyone in this film seems very strong, and the family ‘bond’ does seem loyal, in a way, however it is never 
fully explained in the film as to why Ree and her family are so separated from the bond, and why they are
  treated like outcasts. Ree’s mother especially is treated like an outcast due to her mental health, and her 
lack of ability to do things herself. It is also shown in this scene the patriarchal system that these people in
 this town live in, and that there are only a few resilient women left, including Ree. I feel like the social context 
is important to know when watching this film, as otherwise it is confusing and may perhaps not make sense 
to the audience as to why certain characters act the way they do.

Evaluation

For our task, we chose to make a thriller disguised as a romance film. Our film is a story about a man and a woman who see each other at the train station every day, as the day go on, the woman becomes more involved with the man’s life by leaving him post-it notes and buying him breakfast without ever actually meeting. When they finally meet at the end of the film, we see the two characters flirting with each other, and then disappearing into an alleyway where the woman kills the man, shown by his twitching fingers on the floor as she steps over him with no remorse.

To keep the faces hidden but to show emotion within the characters, we used extreme close ups on the eyes and lips, as they are very voyeuristic features. I thought this was good as it conveyed the emotion to the audience, and is also a key conventions within both romance and thriller genres.  During post production, we had the idea of having the entire film in black and white, all except for the two main characters, however when it came to editing, we didn’t have enough time and were unable to do so.