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Shooting script after feedback
Shooting script after feedback
Shooting script after feedback
Shooting script after feedback
Shooting script after feedback
Shooting script after feedback
Shooting script after feedback
Shooting script after feedback
Shooting script after feedback
Shooting script after feedback
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Shooting script after feedback

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  • 1. TWO SKETCHES FORSTUPENDOUSbyJake BrinksmanJake Brinksman72 Forshaw StreetWarringtonWA2 7HDbrinko3@hotmail.co.uk
  • 2. INT. NORTH POLE, OFFICE OF SANTA CLAUS - NIGHTFADE IN:1. M.C.U., HIGH ANGLE of SANTA CLAUS, seemingly boredreading hundreds of mail.2. C.U, EYE-LEVEL of flirtatious pink letter from aMystery Sender. Santa Claus opens and reads thisletter intriguingly, he smiles deviously.3. M.S, CAMERA PANS DOWN as Santa Claus gives theletter to an ELF who looks confused.4. C.U., EYE LEVEL of Santa Claus as he kneels downto the Elfs height.SANTA CLAUSGo and hide this, go and hide itquickly.5. M.C.U., HIGH ANGLE of the Elf as he nods eagerlyobeying his masters request. CAMERA PANS as hescurries away through the house.6. M.S., EYE-LEVEL of Santa Claus as he sits down athis desk and begins writing a reply to the MysterySender. CAMERA PANS as Santa Claus still smilingdeviously stands, seals the letter and delivers itin the outgoing mail letterbox.7. M.L.S LOW ANGLE of Santa Claus who turns and walkswith a swagger into the living room. He kicks hisheels along the way.FADE OUT:FADE IN:A MONTAGE follows of Santa Claus.8. C.U of Santa Claus reading the pink mysteryletters.(CONTINUED)
  • 3. 9. M.C.U of Santa Claus replying to the MysterySender.10. M.S of the Elf hiding all of the Mystery Sendersletters in the top draw of Santa Claus bedroom.FADE OUT:INT. NORTH POLE, LIVING ROOM OF SANTA CLAUS AND MRS CLAUS -DAY11. L.S of Santa Claus walking up to the front door,opening it picking up a sack outside the door.Before quickly turning back inside looking ratherexcited.12. M.L.S., HIGH ANGLE of Santa Claus quickly rushingthrough the room in excitement to read the mailand CAMERA PANS DOWN when Santa Claus trips overthe Elf and tumbles to ground.SANTA CLAUSWatch where youre going!13. TWO SHOT, HIGH ANGLE of the Elf who looksdispleasing at Santa Claus and folds his arms indisgust. Santa Claus continues to rush through tohis office.INT. NORTH POLE, THE OFFICE OF SANTA CLAUS - DAY14. C.U., CAMERA TRACKS UP as Santa Claus empties thesack full of mail on his desk and immediatelybegins searching frantically for a pink letterfrom his admirer. Santa Claus finds the pinkletter and begins reading it frantically.15. L.S., EYE LEVEL POV of the stairs which SantaClaus hears his wife MRS CLAUS coming down.(CONTINUED)
  • 4. 16. M.S., EYE-LEVEL of him as he is frantically tryingto hide the letter. CAMERA PANS as he is rushingaround the different parts of the room trying tohide the letter. He turns and sees the Elf stoodby the door, still displeased from Santa Claustripping over him. CAMERA PANS as Santa Clauswalks over quickly to the Elf and gestures to theElf to go and find a hiding place for the letter.SANTA CLAUSGo and hide this, hide it quick.17. M.S LOW ANGLE of Mrs Claus who comes down stairsand interrupts the conversation, the ELF hides theletter behind his back. CAMERA PANS UP AND FOLLOWSthe Elf as he scurries upstairs past MRS CLAUS.MRS CLAUSWatch where youre going Elf.18. C.U., of Santa Claus face who smiles innocently tohis wife.FADE OUT:FADE IN:INT. NORTH POLE, LIVING ROOM OF SANTA CLAUS AND MRS CLAUS -DAY19. A MONTAGE follows of him getting smartly dressedto go out.20. C.U. of him combing his beard. Brushing his hairand dusting his coat.21. M.L.S of him putting his Santa hat on and headingout the front door.FADE OUT:EXT. TERRACE STREET - NIGHTFADE IN:(CONTINUED)
  • 5. 22. M.L.S of Santa Claus getting off the sled andreading the address on the letter off his MysterySender.23. M.C.U. as he looks up at a house, he smiles andCAMERA TRACKS as he heads to the front door.24. P.O.V shot from Santa Claus at a message on thedoor saying "Come in and close the door behind youxx".INT. MYSTERY SENDERS LIVING ROOM - DAY25. M.S EYE-LEVEL of Santa Claus walking through thedoor of the Mystery Senders house.26. P.O.V CAMERA PANS AROUND THE ROOM a verydecorative room. A large Christmas tree in thecorner with several presents underneath it andhundreds of Santa Claus and other Christmasphotographs surrounding the walls.27. M.C.U. of the door closing behind Santa Claus andhim looking very confused and trying to open thefront door without success. CAMERA PANS QUICKLYacross the room where the MYSTERY SENDER walks infrom another room. A tall smartly dressed man in adry cleaned expensive suit walks in smiling butlooking nervous.SANTA CLAUS(NervouslyErrm...have you been sending methese letters?28. C.U of the Mystery Sender as he nods his headfrantically.29. C.U of Santa Claus surprised face and strugglingto find his words.SANTA CLAUSAaarrrgghhh!SANTA BABY TRACK PLAYS FOR THE REST OF THE SCENE(CONTINUED)
  • 6. FADE OUT:FADE IN:INT. DRIVING TEST CENTRE - DAY30. M.L.S Of a timid nervous brown teenager with curlybrown hair and large bold glasses called SIMONsitting down.31. M.L.S LOW ANGLE at a door in front of him whichflies open.32. P.O.V CAMERA TILTS UP at a very tall highlymuscular black man named CLEVELAND who is stoodthere filling the door frame. CAMERA PANS AROUNDAND ZOOMS IN RAPIDLY on Simons stunned face as hestudies the man.CLEVELANDHello son, my names Cleveland ,Ill be yo examiner today.33. M.S as Simon stays sat in the safety of the chairstunned by the presence of Cleveland.34. TWO SHOT as Cleveland grabs Simons hand and pullshim up with some great force. Simon flies up andhits Clevelands solid chest. His glasses fall onthe floor.CLEVELANDHehehe, Im sorry about that son,sometimes I just dont know myown strength.35. M.C.U. CAMERA PEDS UP as Cleveland hands Simon hisglasses which he accepts nervously.SIMONThats ok, its nice to meet youMr Cleveland.(CONTINUED)
  • 7. CLEVELANDThats the attitude son. Come onItll all be fine Im sure.36. L.S as the two walk out the door with Clevelandtowering over Simon and patting Simon on the head.FADE OUT:FADE IN:INT. SMALL HATCHBACK CAR INTERIOR - DAY37. TWO SHOT of Simon driving down a busy andcongested main road he is sat very low in his seatwhilst Cleveland in the passenger seat is almosttouching the roof of the car. Cleveland spotssomething out of the window.CLEVELANDSTOP THE CAR!38. TWO SHOT of inside of the car as they grind to ahalt. Cleveland winds the window down.39. M.C.U. as Cleveland slides the top half of hisbody out of the window. Simon sits nervouslylooking around for any faults he may have made.CLEVELANDYo DETROIT, JACKSON Yo Dawgs.40. L.S of two other large black men Detroit andJackson who are the same size and build asCleveland.DETROITYO guys, what up?CLEVELANDSound bro, fancy coming for aride.(CONTINUED)
  • 8. JACKSONYeah dawg, sounds like a plan.41. TWO SHOT as Cleveland turns and slides back throughthe window into the car. Shortly after Jackson andDetroit get in the back. Simon looks around scared,as he is surrounded by these 3 giant men.CLEVELANDOn with the test we go son.42. TWO SHOT WITH A WIDE DEPTH OF FIELD. of inside thecar as Simon sets off and continues driving.INT. SMALL HATCHBACK CAR INTERIOR - DAY43. P.O.V as the car stops further down the street at aset of traffic lights behind another car. Anattractive YOUNG WOMEN in her 20s crosses theroad.44. TWO SHOT WITH A WIDE DEPTH OF FIELD As the fourmens eyes follow the young attractive girl acrossthe road.45. P.O.V showing the lights changing. Simon panicsreleases the clutch too quickly and crashes intothe car in front.46. M.S. as Cleveland opens the passenger door andbegins to get out of the car.47. P.O.V as a FEMALE DRIVER whose arms are covered intattoos, stocky build and thick curly hair gets outof the car in front and begins to approach the carangrily.FEMALE DRIVERWhat the hell have you done to mycar? Youre going to pay forthat.(CONTINUED)
  • 9. 48. TWO SHOT WITH A WIDE DEPTH OF FIELD as Clevelandcloses the door rapidly and Cleveland, Detroit andJackson all begin to panic.CLEVELAND, DETROIT AND JACKSONAAARGGHH ITS HER!49. Simon stunned pauses for a moment before drivingoff rapidly.50. L.S of the car driving past the car in front andswerving several cars along the way. TWO SHOT WITHA WIDE DEPTH OF FIELD as hes panicking drivingwildly with the car turning down several sidestreets.SIMONWhats going on, why didnt Ijust stop?CLEVELANDSIMON my son, when you meet awoman like that you fear for yourlife. Trust me, I know, I wasmarried to her!51. C.U of Simon as he glances at Cleveland, stillvery scared.52. P.O.V shot of the road shows Simon losing controland crashing into a nearby tree.53. TWO SHOT WITH A WIDE DEPTH OF FIELD of the four ofthem crashing and the seatbelts saving them. Theairbag deploys.DETROITGuys we gotta scoot, before thatcrazy bitch gets here.(CONTINUED)
  • 10. CLEVELANDGood shout, lets bail.54. TWO SHOT WITH A WIDE DEPTH OF FIELD Of Cleveland,Detroit and Jackson opening the doors and runningaway in different directions.55. L.S of the car they crashed into earlier screechingaround the corner and braking harshly next toSimons car.56. P.O.V from Simon as the woman gets out of the carand walks slowly towards Simon slowly with an angryfrown on her face.SIMONUh....oh!FADE OUT:

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