Shot List
Upcoming SlideShare
Loading in...5
×
 

Shot List

on

  • 624 views

Shot List for short film, Something In The Past

Shot List for short film, Something In The Past

Statistics

Views

Total Views
624
Views on SlideShare
624
Embed Views
0

Actions

Likes
0
Downloads
2
Comments
0

0 Embeds 0

No embeds

Accessibility

Upload Details

Uploaded via as Microsoft PowerPoint

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment

Shot List Shot List Presentation Transcript

  • Shot List Final Draft Something In The Past Daniel Parker-Smith
  • Scene 1, Introduction, Doug’sHouse Shot Shot Numbe Description Type r 1a CU bottles of alcohol on a cabinet, track across bottles left to right bottles of alcohol and door, track from bottles to open door. This 1b CU shows the contrasting bright light with the dark, dim room. photo frames on a cabinet, track across showing photos, left to 1c CU right 1d CU continue track to show a half empty glass As protagonist picks up the glass, the camera follows the glass to 1e CU protagonist and zooms out to show his face
  • Scene 2, Doctors Shot ShotNumbe Description Type r main character sat on medial gurney. Camera zooms in on eyes. Doctors voice fades in, "Mr Robinson, due to ignoring our advice to stop drinking your liver is almost past the point of recovery. A transplant is out of the question and if you continue drinking like 1a MLS this, we won’t be able to do anything to help you. We can however make you more comfortable for the future... Would you like to talk about your options, I could refer you to a local hospice". over shoulder shot from Douglas, doctor shown. Doug, (head in 1b MCU hands, breaths in and out heavily and then become serious.) "I can manage on my own".
  • Scene 3, Leaving Doctors Shot ShotNumbe Description Type r 1 LS Douglas leaves doctors and walks down corridor. 2 MS Douglas enters the car, starts the ignition and drives the car out of the shot. 3 MS Car enters the shot with Douglas inside. 4 MS Douglas exits the car. Douglas exits the car and walks towards the house. Camera tracks from 5 LS right to left, focusing on Douglas as he nears the house door.
  • ShotScene 2, Numbe r Shot Type DescriptionFlash- 1 LS Douglas enters house, walks inside and closes the door. show Douglas from behind and pan from left to right as he looksbacks 2 CU across roomhouse 3 4 MLS LS shows Douglas from front closing the door behind him. Douglas in the house, hearing echoes and sounds, reverb, etc 5 CU Douglas’ face close up 6 CU to LS Douglas starts to walk out of shot down corridor Camera inside a room as Douglas walks past the door frame 7 MLS outside 8 MCU Camera follows Douglas down corridor Doug walks into a room and see’s his former self sitting in an 15 MS armchair, next to him, a half empty whiskey bottle, his daughter is behind a newspaper he is reading) Lilly turns off a record player that Doug is listening to, to show him a dance routine. Over the shoulder shot of young Douglas 16 CU looking at his daughter as she pulls the newspaper down to see him. Lilly, "Daddy look at what I learned at ballet today…" over the shoulder shot from daughter looking at young Doug sat 17 CU in the chair. (Lilly begins a short dance). over the shoulder shot of young Doug looking at his daughter. (He stands up to put the music back on). As he sits back down 18a CU the music plays, Lilly stops, looks confused, "This isn’t the right music…"
  • over the shoulder shot from daughter looking at young Doug satScene 2, 17 CU in the chair. Doug replies, "Well this is my music, my house and my time. If you can’t dance to this then you won’t dance at all". (Puts paper back up to block her from his sight). Lilly walksFlash- away slowly crying as Doug remains silent.backs 19 CU Present time Doug is shown appaled after seeing the flashback, he walks out of shot with his hands on his face, ashamed.house 9 MCU Douglas walks down corridor as camera tracks to follow him. He walks into the kitchen and after hearing audio hallucinations and moving towards them, a flashback is seen from over shoulder of Doug. Past Doug walks into the kitchen and to his drinks 9B MLS cabinet/cupboard, he realises that one of his favourite decanters is near to empty, he angrily calls down his son in a fit of rage. Doug is angry as Michael enters. (These shots will be filmed on 9C MCU a handheld camera and film close ups on the characters faces to emphasise the tension of the scene to the audience). Over shoulder shot from Michael, looking at Past Doug. Past 11 MCU Doug, almost shaking with rage, looking at the container rather than looking at Michael "Would you care to explain this?..." Over shoulder shot from past Doug, looking at Michael. 11B MCU Michael, smug, "Well it seems that you’ve finally drunk yourself to the bottom". Over shoulder shot from Michael, looking at Past Doug. Doug replies very angry, "DON’T YOU TALK BACK TO ME; I AM THE HEAD OF THIS HOUSEHOLD. AND IN THIS HOUSE 11 MCU YOU FOLLOW MY RULES, WHATS MINE STAYS MINE!" (During this dialogue shot 11B will be shown to indicate Michael, calm, as this is usual behaviour from Doug).
  • Scene 2, Over shoulder shot from past Doug, looking at Michael. Michael, still appearing smug/cocky, "Why would I want to drink that? And end up like you?!". (Camera remains on MichaelFlash- 11B MCU as Doug replies). Michael, looks down shaking head as Doug replies, "And what’s that supposed to mean?". (Upon Dougsbacks reply, Michael lifts his head to reply, "How you care more about your booze than the rest of the family, did you even notice thathouse its..." (He is interupted by Doug). Side shot of Dougs face, slight worms eye view, tension increased. Doug, very angry, "How dare you talk back to me in 11C MCU that manner, I put a roof over your head" (Upon the word "head", Michael interupts Doug). Michael, bursts with anger at his father, " YOU’VE DONE 11B MCU NOTHING!". Over shoulder shot from Michael, looking at Past Doug. Past 11 MCU Doug, almost shaking with rage, looking at the container rather than looking at Michael "Would you care to explain this?..." Over shoulder shot from past Doug, looking at Michael. Doug 11B MCU appears very angry, eyes wide, teeth grit etc. Doug takes a swing, begins to hit Michael. The hit is not seen by 9B MLS the audience and the camera cuts before his hand hits Michael. The hit is heard during this shot. Present time Doug shuts his 12 CU eyes and turns away from the flashback. MCU to Over shoulder shot shows the flashback gone, Doug walks down 13 LS hallway into kitchen where the flashback was. Doug starts to walk away from the over the shoulder camera shot, stops, leans against the wall, starts to break down, ashamed 13B MCU of his actions from the past. (A MCU side-shot will be shown to emphasise this more to the audience and make the emotion have more of a connection with the audience).
  • Scene 2, 20 MS Douglas enters corridor and Vera is shown in the background near the doors with a suitcase by her feet.Flash- 21 MCU Vera, "Come on kids, we’re leaving!" Camera pans down as the children walk down the stairs. (theybacks 22 MLS both seem sad yet confused). Lilly, "What about daddy?" Past Doug enters the room, stopping at threshold, leaning on thehouse 23 MS door frame, casual, little emotion shown. 21 MCU Vera, "He’s staying here" 22B MCU Michael, "Why?", confused, looking at Vera and Doug Vera, "Because your father obviously doesn’t want to see us 21 MCU anymore…" Past Doug still leaning casually on the door frame replies, 23 MS "That’s not true you’re my family". Still little emotion and care shown towards Vera. Vera, slightly angry and disgusted at Dougs response, "Maybe 21 MCU you should treat us with the respect we deserve?" Past Doug stops leaning on door frame and moves towards Vera as children move towards Vera from the stair case. Past Doug, "What you deserve? You deserve a man like me, to take charge, 23 MS to take care of you (looks at wife and children and a MCU is seen of the two children, Lilly appears very innocent, sad, clutching a toy). During the MCU on the children Vera responds, "A man like you? Have you seen yourself, (cut) 21 MCU Vera, angry, "you’re a disgrace!" Camera outside house seeing Vera and children leave, Doug 24 MCU stood in doorway 25 MCU Vera turning head to look back.
  • Scene 2,Flash-backshouse Vera and children walking away, a close up of Lilly is shown, 27 MLS she appears very sad. Younger Douglas shown disgusted and angry and camera pans 28 MLS from right to left to show present Douglas ashamed, distraught. present Doug distraught. Camera stays on him, continuous shot as he walks away from doorway, finds a nearby chair, falls into 29 MCU it, hands on face, sad. (Very dark lighting within the room he walks into). 30 - FADE TO BLACK from shot 29
  • Scene 4,MorningJourney Shot Shot Numbe Description Type r 1 LS Douglas asleep in chair Doug awakes, he breathes heavily, strokes his beard/5 o clock 2 CU shadow, gazes quickly around and with little hesitation, stands up and walks out of shot. 3 MS Douglas driving in car, camera interior. 4 ELS Dougs car arrives outside shop 5 LS Doug walks from the car to the shop, hands in pockets, cold morning.
  • Scene 4,Morning 6 MCU Doug enters the shop and shuts the door behind him, MCU on face.Journey 7 MS Douglas walks towards counter. Camera stationary. A 2 shot from side is shown of Douglas and Shop Keeper. All the dialogue for the two characters is within one continuous shot. 8 MS Shopkeeper, "Morning Doug". Doug, "bottle of whiskey". Shop, (Passes whiskey) "that won’t do your cough any good", smiling, slightly laughing. Doug, "A cough is the least of my worries (awkward, light laugh under breath) im dying". Shop keeper (awkward expression, coughs) "uhh, £10 straight please". 9 MCU Over shoulder shot of Doug looking down at his wallet. Close up of Dougs hands as a photo falls out of the wallet. (Doug 10 CU searches his wallet and an old photo falls out). 8 MS 2S MS, Doug reaches down for the photograph and then stands. Over shoulder shot looking at Dougs photograph (camera zooms to 12 MCU show photo clearer). 2 shot, side shot. Doug looking at shop keeper. Doug puts the money 13 MS on the counter and begins to walk away. Doug walks out of shot leaving only the shop keeper in shot. Shop keeper, "uhh, cheers" The front of Dougs face is shown, looking down at photo, he walks 13B MCU out of shot showing shop behind him
  • Scene 4,MorningJourney Douglas closes the shop door, looks towards his car and walks to it, occassionally pearing at the photo as he walks to his car. As he walks 14 MLS the camera pans from left to right, following him to his car. He gets inside the car, closes the door and holds the photograph on top of the steering wheel, staring at it. Over shoulder shot from Doug, camera pans down from face to photo 16 MCU in hands. Doug reaches for his phone puts that on the wheel and stares at it in 14 MLS the same way as the photograph. A close up on the phone, he goes down a contact list and see’s Lilly’s 14B CU name. 14 MLS He breaths heavily in contemplation, and strokes his beard, etc. After a few moments of thinking he puts the phone to his ear, very nervous.
  • Scene 5, Shot Numb er Shot Type DescriptionLilly’s 1 LS Establishing shot of house. Showing Doug walking up to door.House 2 MCU A side shot, showing Doug knocking on the door. Over shoulder shot from Doug. Lilly opens the door, looks quickly at 3 MS Doug who peers towards the door, she then walks quickly away into the house, shy. Camera inside the house, Lilly quickly walks out of shot avoiding 4 LS Doug. Doug stands at the door, confused and curious of the house he has never visited. from behind Doug’s head, camera pans to see Lilly and Doug inside 5 MCU room facing Doug MCU of Michael on left of frame and Lilly (MS) on the right of the 6 MCU frame. Lilly appears quite reserved and Michael acts very formal, "Have a seat" Doug says quitely "Thanks", almost intimidated by the two, 7 MS especially Michael and sits down quickly on the seat nearby. All 3 characters in room are in silence, it is quiet, the tension is high 8 LS and the overall atmosphere of the shot is very awkward. 9 MS Lilly, shy, "Umm, Do you want a cup of tea?" Doug in the chair, front shot. He replies, close to stuttering, slightly 10 MS intimidated, "Uhh, yeah please, 2 sugars". He appears awkward sat in the chair Lilly leaves the room quickly, "1 minute". Doug’s arm chair is in the 11 MLS right of the shot Michael sits in the chair formal and silent as Lilly crosses the shot 12 MS and leaves the room.
  • Scene 5, Doug leans forward sat in the chair, "I know I’ve done wrong in the 13 MCULilly’s 12 MS past" (interupted by Michael). Michael sits in the chair formal, Interupting Doug, "Dont".House 13 MCU Doug leant forward sat in the chair, "No, I need to say this." Michael sits in the chair formal, "say what?". Doug begins to talk 12 MS while Michael sits in chair in shot looking uninterested. "I’m so sorry for what I did to our family, ..." Doug leant forward sat in the chair, continues talking, "I should have 13 MCU realised it was wrong long before now". Michael leans forward towards Doug while sat in chair, aggressive, 12 MS "Are you expecting us to forgive you?". Doug, "No", pauses, leans back in chair, "what I did to you and your 13 MCU mother was unforgivable". Michael in background, in the foreground Lilly enters, while talking 15 MLS puts down the tray with tea, "Yes it was, but you’re still our father". Doug leans forward sat in the chair, Lilly steps into the shot and hands Doug a cup of tea. Michael, "Shame he didn’t act like It", 16 MCU Doug takes Tea and Lilly walks out of shot as Doug replies, "You know I’m sorry about that". Michael talks in shot and in the middle of dialogue Lilly sits down in 17 MS he right of the frame. Doug, "It’s not enough to be sorry". Two shot of Michael and Lilly sat down in frame. Doug leant forward sat in the chair, "I don’t expect you to forgive 13 MCU me; I just wanted to be able to see you both". 17B MCU Lilly, shy, "And mum?"
  • Scene 5, 13 MCU Doug leant back, relaxed in the chair, "She wouldn’t have come if I asked her".Lilly’s 12 MS Michael, "maybe if you treated her better we wouldn’t be having this conversation".House 13 MCU Doug leant back, relaxed in the chair, "I can’t change the past, but I can apologise for it". Lilly, shy, "We know you’re sorry, we’re just finding it hard to 17B MCU forgive you… you ruined everything …" continued talking while the side of Dougs face is shown, "You’re still our dad and we love you but we just can’t forgive you". As Lilly 16 MCU finishes talking, Doug leans forward and replies, "I know I was out of control…. I’m sorry for everything, … continued while showing Michael shaking his head in disbelief, "I 12 MS wasn’t always like this, there was a time when were happy", (Michael looks up briefly) Side of Dougs face shot. Continued, Doug, very saddnenned by his 16 MCU speech, "all of us. You probably won’t remember though, I just wish it was all like that". Two shot, Lilly and Michael. Michael, "We remember you drinking 17 MS yourself into a coma". Lilly, shy, "I remember…". (She pauses and then walks across the room towards a drawer). 16 MCU Side shot of Doug, he watches her cross the room 17C CU Close up of Lillys hands holding photograph 17B MCU Lilly looks at Doug, sad. Close up of Lillys hands as she passes the photo to Doug, his hands 17C CU appear in shot and he takes the photo. As he does, camera pans up to his face. Doug, looking at Lilly, "I didn’t think you’d keep this".
  • Scene 5,Lilly’sHouse Close up of the photograph, over shoulder shot from Doug, zoomed 17D CU in very far to photo and some hands showing. "We missed you dad, it was the only photo where we were 17B MCU Lilly in shot, continued dialogue, "...all truly happy". Doug, front shot, sat in chair, he breathes in vert traumatised, puts the 10 MS photograph and his hands to his face, hiding slightly behind it Two shot, Lilly and Michael. Lilly, calm sympathetic, "Its ok, dad, its ok". Michael turns to her, "Its not ok, what part of our past was ok?! 17 MS (Angry)". They both argue, "He’s sorry, can’t you see that?". Michael, aggressive, not shouting, "Maybe sorry isn’t good enough". (Stands up and walks around) Side of Dougs face, Doug, "It isn’t", he breathes out and moves his 16 MCU hands and the photo away from his face, "but it’s a start". 12 MS Michael, "Why did you come? (cut line??) Continued shot, Doug, "I wanted to be able to sleep at night knowing 16 MCU that my children know im sorry for what pain I’ve caused them in the continued past".
  • Scene 5, Two shot, Lilly and Michael. Lily, "We know you’re sorry", leaningLilly’s 17 MS closer to camera + Doug. In the middle of Lillys dialogue Michael sits back down, as she finishes dialogue Michael reponds, "But why now?".House Dougs face, 45 degrees, imbetween front shot and side shot, his head 18 CU tilted down slightly, eyes closed before talking, eyes open as he speaks and lifts head. "Because I don’t have much time left". 17B MCU Lilly, "What do you mean?" Dougs face, 45 degrees, imbetween front shot and side shot, his head 18 CU tilted down slightly. "It doesn’t matter, what matters is I’m here". Lilly, "What’s wrong dad?". Slightly more zoomed than 17B, 17B MCU increasing emotion etc. Doug, head now up looking at Lilly. "Nothing… Nothing.. I’m fine 18 CU Lily…". Looks around the room, glances at a photo in a frame, he begins to stand going out of shot, cut. Doug stands from chair and walks across the room as Lilly and 19 LS Michael watch him. Dougs face, "He turns I remember this; this is from Michael’s 20 MCU birthday (pause) you both look so... different". Two shot, Lilly and Michael. Lilly stands and camera goes up staying at eye level to her. Camera zooms as she walks towards Doug. As she stands and walks she says, "Yeah, that’s one of my earliest memories, one of my favourite too". As she reaches him at the end of her 17 MS dialogue, she puts her arm around him, the shot becomes a two shot, side shot, MS of them both close together facing each other. Doug, "Do you have anymore photos like these?". Lilly, "Yeah, (walks out of shot)"
  • Scene 5,Lilly’sHouse Lilly to right of shot looking back at Doug, ". We’ll go through them 21 MS now for a bit if you’d like to stay for a while, that’d be nice" Doug mirrors shot 21 and as on the right of the frame, "yes, yes it 22 MS would". Lilly begins to walk away, (footsteps heard). Camera moves to thr right as Doug turns, smiling to Michael. Michael, still sat in chair. Looking back at Doug he lightly smiles and 12 MS stands moving out o shot. As Lilly walks down the center of the frame into another room, Doug is on the left of the frame. Michael (now nearly stood from moving in 23 LS previous shot) walks over to Doug and puts his arm round him. Doug looks gently towards Michael and does the same.
  • Shot ShotScene 6, Numbe Description Type rPark 1 ELS A long, wide walkway is shown from a park 2 MLS A tree canopy is shown with light shining brightly throughScene 3 MLS Doug enters the park through a gate, he has his hands in his pockets and looks around as he walks. The camera pans from leftand to right as he moves further into the park. Douglas starts to walk im-between two trees as the light of theEnding 4 MS park shines through he apprears as a shadow in the light. (Shot 45) Doug takes the old photograph from his pocket. As he does the 5 CU camera follows his hand and he carries it facing the camera while walking. A slight worms eye view of Douglas walking out of shot towards 6 MLS trees opening. Camera stationary as Doug walks down hill. He is in the center of 7 MS the shot throughout getting further away from camera, shot will last approx. 30 seconds. A long, wide walkway is shown from the park same as before and 1 ELS Doug walks across it from left to right. 9B LS From front, Doug walks down stone stairs in park 9 LS Douglas walks down stairs. Camera from side The side of Douglas’ face is shown as he turns to see his former self (past Doug) and his wife (past Vera) having a discussion. 10 MCU Camera pans left from Dougs face to an over shoulder shot from Doug looking at them. Over shoulder shot of dialogue from past Doug looking at Vera. 11 MS Doug, "Maybe we should think about getting away for a while? It may cost a bit but im sure we can manage".
  • Shot ShotScene 6, Numbe Description Type rPark 1 ELS A long, wide walkway is shown from a park 2 MLS A tree canopy is shown with light shining brightly throughScene 3 MLS Doug enters the park through a gate, he has his hands in his pockets and looks around as he walks. The camera pans from leftand to right as he moves further into the park. Douglas starts to walk im-between two trees as the light of theEnding 4 MS park shines through he apprears as a shadow in the light. (Shot 45) Doug takes the old photograph from his pocket. As he does the 5 CU camera follows his hand and he carries it facing the camera while walking. A slight worms eye view of Douglas walking out of shot towards 6 MLS trees opening. Camera stationary as Doug walks down hill. He is in the center of 7 MS the shot throughout getting further away from camera, shot will last approx. 30 seconds. A long, wide walkway is shown from the park same as before and 1 ELS Doug walks across it from left to right. 9B LS From front, Doug walks down stone stairs in park 9 LS Douglas walks down stairs. Camera from side The side of Douglas’ face is shown as he turns to see his former self (past Doug) and his wife (past Vera) having a discussion. 10 MCU Camera pans left from Dougs face to an over shoulder shot from Doug looking at them. Over shoulder shot of dialogue from past Doug looking at Vera. 11 MS Doug, "Maybe we should think about getting away for a while? It may cost a bit but im sure we can manage".
  • Scene 6, Over shoulder shot of dialogue from Vera looking at Past Doug. (Vera pauses looking down, then looking at Doug. Vera, " ArePark 11B MS you sure we should be thinking about a holiday when there is gunna be the 3 of us… "Scene 11 MS Over shoulder shot of dialogue from past Doug looking at Vera. Doug, "What do you mean? 3 of us?"and Over shoulder shot of dialogue from Vera looking at Past Doug. 11B MS Vera, pauses, laughing lightly, "You, me… and the baby". LooksEnding down at stomach. Past Doug reaches to hold Veras hand and they both smile. 12 MS Present Douglas in the background, the flashback characters fade out. Dougs face is shown in the center of the frame and with some 13 CU trees in the background, Doug turns to look at them. Douglas revealed as camera pans from behind tree around the, 14 MCU right to left, to show his face. 15 CU Close up Douglas’ hands with photograph. Camera behind/side tree to show Douglas sat at the tree with 16 LS Family in the background, unrelated family. MS from behind tree to show back of Douglas’ head and family 17 MS in background. MCU to MLS of Douglas’ face to full body view whilst Douglas 18 MCU sat at tree. Camera zooms out when Douglas stands up. 19 MLS LS of Douglas moving from tree to path. Camera stationary. MCU back of Douglas’ head. The café and other people are all 20 MCU still in shot.
  • Scene 6,ParkScene 21 CU Still on Doug, (Andy Warhol screen test, etc)and 22 CU CU of Doug pulling tablets out of pocketEnding 23 CU CU of hand, camera follows hand from pocket to face. LS of Doug taking tablets tree and field visible. Doug sits back 24 LS down after taking tablets. 25 MCU MCU from front thinking about drinking. Ruffling stubble. MCU of side of face showing drinking it. Follow on from 25. 26 MCU Then reaches down for alcohol and drinks it. 360 shot. LS pan from left to right, starting with Doug, then moving to Young Doug flying a kite with daughter and then she runs away, to which Doug walks over to his son and plays 27 LS football with him. The ball the goes out of shot and the family are eventually reunited at a picnic on the last shot before the camera pans back to preset Doug at the tree. CU to CU to an ECU of Doug’s face to Doug’s eyes, as he closes his 28 ECU eyes the shot is cut to black. 29 Various Still shots of park, day.