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Goodbye, hello pitch
- 2. •
- 3. Extreme Close up Dark shadows in vehicle – only eyes visible Extreme close up of struggling to place keys in ignition Drops keys in footwell, fumbles to grab POV looking at dark night lit only by streetlamp Back to extreme close up, eyes lit by passing car, ignition starts. Shot of car rear as it starts, lights on, car speeds off out of shot to the right
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- 6. SOUND I would want to attempt to make the sounds very genuine and diegetic as possible.
- 7. Stacey Devonport: This is a freelance actress that I found that had the correct features that I had imagined the character to have
- 8. There are several ideas to have for the locations that would make this film achievable.
Editor's Notes
- My Idea for this script straight away would be in a fairly minimal style, I wouldn’t want to over dramatize the shots but to emphasize emotions a majority of shots would be close ups or extreme close ups and music would only be apparent in silent moments to bridge the emotions from one seen to the next if necessary.
- This low level lighting would portray a very low mood, show that the character is struggling This kind of lighting for the opening drive scene very important as dark lighting and rain creates a heavy mood of panic, and a sad feel. I would have the streets lit simply lit by street lights and shots that show the protagonists face on lit by passing car headlights so we get short bursts of her emotion. I’d want to ensure that the final shot where Katie hears the heartbeat shows the impact organ donation has, lifts her spirits up and bright lighting can display and capture this message really well
- The opening scene is a strong establishing shot creating the mood, setting and emotion of the character. I would want to further extend these emotions in moving image by using an extreme-close up of the characters eyes playing on the sound of rain tapping on the car by having it as the only sound you can hear. This would capture the emotions of the character by having it the only focus of the moment. This would then cut to a close up of her dropping car keys on the floor of the car and struggling to place them in the ignition whilst hearing only the rain and the character quietly crying. The dark of night would reflect this well as I would have the characters face fairly darkened which would be light up by passing cars headlights to display she is in a dark place. “block shadowing”
- As this is a serious script I want the emotions to be natural and not forced by non-diegetic sound such as “sad” or “depressing” music. For scenes where Katie is alone or reminiscing the memories with her father I would want the scene to be silent so that the focus is purely on her emotion, when she is looking at the possible photo album I’d only want to see a shot reverse of who looking at the album then the photo she is looking at. I chose a scene at the end of seven pounds which I believe would outline the best way to end the short film as it has a very similar ending as the script I have chosen to use. It captures the appreciation of the person who received the organ and the emotions behind the person meeting them for the first time.
- For the film idea I would have her struggling with the loss of her father throughout the short film displaying a sense of vulnerability that has been created since the loss of her father. For the protagonist I would want an actress who could give this effect off well, ideally someone with dark brown hair: and as she has worked in various theatre productions and was a part of “Home Front: The revolution” she is used to voice acting therefore being able to portray emotions not only from her expressions but strongly in her voice too.
- There is a Uni hospital that allows students to use that could be used for the majority of the scenes at the beginning and end of the film that would allow us to create these scenes with enough space to add lighting boxes and to emphasise colder moments.
- I would want to bring In a scene or two to further explain the relationship between Katie and her farther to grasp the connection and the emotion behind it. This scene would be a memory where Katie receives a gift from her father for her birthday which is a necklace that he had bought for her with her initials engraved on it. This will then be reflected on in the same scene as we cut back to a close up shot of her holding onto the necklace as she struggles to find the strength to meet the guy who has her fathers heart. I would also possibly add a scene that has her looking through a photo album that collates together memories of their time together showing the close relationship that she has with her father further displaying the impact of her loss and why she is struggling to get through it.
- The location wouldn’t be a generic hospital room, I would have it as a key location that shares a lot of meaning to the main protagonist. A memory to be played of her receiving the necklace at a hillside, somewhere her father used to take her. To end the film I would have it as a silent put entirely empowering moment straight after the dialogue. Once the shot is done and after the line “He’s been waiting for you” I would have the scene zoom out to a long two shot which would have Katies Voice over begin slowly panning out from the two characters. After the V/O has finished id have the camera Pan up to black with the final phrase “Organ donation isn’t just about changing lives. Organ donation is the gift of life.”