Wednesday, March 30, 2011
Tuesday, March 29, 2011
Empty Vessel: Rough Cut Self Crtit
Trinity Poole
Midterm Project
Empty Vessel: 3/30/11
The main character is emotionally detached and unable to sustain relationships, and faces inner turmoil because she feels she cannot change.
I want this piece to evoke empathy from the audience, and for them to relate to the main character.
This project came about because of a mixture of personal experiences, and is important to me because I concentrate on self-portraiture in my photography, so the progression for me was to perform in a film.
I feel that the theme has become more about self-isolation.
The main conflict or tension is that there is no resolution; the character continues a self-defeating cycle.
Problem areas: Cutting the video down to the time limit, and being able to include enough material without taking away from concept and visuals. Technical troubles and frustrations… Lost several audio clips and had to redo them, and files kept going offline. Files kept needing rendering, it seemed like I did that 5 or 6 times. I don’t know if I missed something and was doing something wrong.
Midterm Project
Empty Vessel: 3/30/11
The main character is emotionally detached and unable to sustain relationships, and faces inner turmoil because she feels she cannot change.
I want this piece to evoke empathy from the audience, and for them to relate to the main character.
This project came about because of a mixture of personal experiences, and is important to me because I concentrate on self-portraiture in my photography, so the progression for me was to perform in a film.
I feel that the theme has become more about self-isolation.
The main conflict or tension is that there is no resolution; the character continues a self-defeating cycle.
Problem areas: Cutting the video down to the time limit, and being able to include enough material without taking away from concept and visuals. Technical troubles and frustrations… Lost several audio clips and had to redo them, and files kept going offline. Files kept needing rendering, it seemed like I did that 5 or 6 times. I don’t know if I missed something and was doing something wrong.
Tuesday, March 8, 2011
Empty: Script Breakdown
Script Breakdown
This is the story of a highly withdrawn woman who suddenly realizes that she does not feel like a real person, and is disturbed and upset about it.
The opening scene functions as a way to show the main character’s past experiences with relationships, and the repetition that occurs, as well as her beginning a relationship with her new girlfriend.
Act 1: Scene 2: This scene is a way to show the interactions between the two women, to really get a sense of both whom this main character, Savannah, is, and who they are together. It also introduces the catalyst for Savannah’s change.
Act 2: Scene 1: Morgan is gone, Savannah is alone, and we begin to see her in her environment alone and changing. She reveals how she feels about herself.
Act 3: Scene 1: This scene shows her attempt to bring about some change in herself, and the struggle she has. The ending cut functions not as a resolution but as an image of this character’s acceptance of who she is.
Savannah’s small amount of dialogue speaks to her issues and personality. She is very closed off emotionally. The voice-overs of her previous relationships speaking the same lines reinforces that this is an issue that she has been experiencing for quite some time. It is the norm for her.
The transitions will include imagery of locks in some scenes to emphasize the way she keeps herself closed off.
Morgan functions more as a catalyst for Savannah’s experience than as a relationship.
This is the story of a highly withdrawn woman who suddenly realizes that she does not feel like a real person, and is disturbed and upset about it.
The opening scene functions as a way to show the main character’s past experiences with relationships, and the repetition that occurs, as well as her beginning a relationship with her new girlfriend.
Act 1: Scene 2: This scene is a way to show the interactions between the two women, to really get a sense of both whom this main character, Savannah, is, and who they are together. It also introduces the catalyst for Savannah’s change.
Act 2: Scene 1: Morgan is gone, Savannah is alone, and we begin to see her in her environment alone and changing. She reveals how she feels about herself.
Act 3: Scene 1: This scene shows her attempt to bring about some change in herself, and the struggle she has. The ending cut functions not as a resolution but as an image of this character’s acceptance of who she is.
Savannah’s small amount of dialogue speaks to her issues and personality. She is very closed off emotionally. The voice-overs of her previous relationships speaking the same lines reinforces that this is an issue that she has been experiencing for quite some time. It is the norm for her.
The transitions will include imagery of locks in some scenes to emphasize the way she keeps herself closed off.
Morgan functions more as a catalyst for Savannah’s experience than as a relationship.
Empty: Location Confirmation
Location confirmation:
The location is confirmed. I live here so I have unlimited access to it. The sound quality is decent, I imagine, but since I do not know much about sound, I may be wrong. There is a power outlet on two opposite walls in the bedroom, and windows for natural light. The living room also has two outlets, but no natural light. The kitchen has only one outlet and will be the most problematic, as it is located in an area where it will most likely show in the shot, but I have extension cords. There is natural light in there. The bathroom has no outlets but there is one in the room beside it. There is minimal light in there.
Scheduling:
This will be shot over a ten day period ideally.
Shots with Savannah only will be shot in 3-4 days.
Shots with both will be shot in 3-4 days.
Montage shots will be done in one day.
Schedule-
Date Location Time Scene Actors
3/15 Duplex 3 pm A1S2 Megan, Trinity
3/16 “ “ A1S2 “
3/17 “ “ A1S2 “
3/18 “ “ A2S1 Trinity
3/19 “ “ A2S2 Trinity
3/20 “ “ A3S1 Trinity
Scheduling after this will be dependant of what reshoots are needed and what the deadline is.
The location is confirmed. I live here so I have unlimited access to it. The sound quality is decent, I imagine, but since I do not know much about sound, I may be wrong. There is a power outlet on two opposite walls in the bedroom, and windows for natural light. The living room also has two outlets, but no natural light. The kitchen has only one outlet and will be the most problematic, as it is located in an area where it will most likely show in the shot, but I have extension cords. There is natural light in there. The bathroom has no outlets but there is one in the room beside it. There is minimal light in there.
Scheduling:
This will be shot over a ten day period ideally.
Shots with Savannah only will be shot in 3-4 days.
Shots with both will be shot in 3-4 days.
Montage shots will be done in one day.
Schedule-
Date Location Time Scene Actors
3/15 Duplex 3 pm A1S2 Megan, Trinity
3/16 “ “ A1S2 “
3/17 “ “ A1S2 “
3/18 “ “ A2S1 Trinity
3/19 “ “ A2S2 Trinity
3/20 “ “ A3S1 Trinity
Scheduling after this will be dependant of what reshoots are needed and what the deadline is.
Empty: Logistics
Logistics
Actors:
Voiceovers- at least 10, undecided at the moment who they will be
Savannah- Trinity Poole
Morgan- Megan Webster
Scenes:
Morgan- A1S2: 3 minutes
Savannah- A1S1 1: 5 seconds
A1S2: 3 minutes
A2S1: 1.5 minutes
A2S2: 2 minutes
A3S1: 3 minutes
Locations:
My duplex, Midtown Memphis. Bedroom, living room, kitchen and bathroom, as well as foyer and street shots.
There will be no special effects or stunts.
Costumes and makeup:
I would like to keep it very simple. Makeup will be minimal. Costuming: Morgan will wear the type of clothes that the actress wears. Slacks, t-shirts, casual. Savannah will wear long sleeve shirts to cover the actress’ tattoos, business casual clothing.
Props:
Bed, bathtub, bathroom mirror, clothing that Savannah puts away.
Actors:
Voiceovers- at least 10, undecided at the moment who they will be
Savannah- Trinity Poole
Morgan- Megan Webster
Scenes:
Morgan- A1S2: 3 minutes
Savannah- A1S1 1: 5 seconds
A1S2: 3 minutes
A2S1: 1.5 minutes
A2S2: 2 minutes
A3S1: 3 minutes
Locations:
My duplex, Midtown Memphis. Bedroom, living room, kitchen and bathroom, as well as foyer and street shots.
There will be no special effects or stunts.
Costumes and makeup:
I would like to keep it very simple. Makeup will be minimal. Costuming: Morgan will wear the type of clothes that the actress wears. Slacks, t-shirts, casual. Savannah will wear long sleeve shirts to cover the actress’ tattoos, business casual clothing.
Props:
Bed, bathtub, bathroom mirror, clothing that Savannah puts away.
Among an Empty Vessel: Script
ACT 1
Opening Scene:
Montage of closing doors, hands locking doors, gathering people’s things, cars driving off interspersed with Savannah sinking into red chair blankly over and over. V.O. of different people repeating the same line. “What are you?” or “Is there anyone in there?”
S- (blankly into air)
Fuck.
FADE TO:
Montage, fast paced, of first dates into the relationship with Morgan. Images of Savannah opening doors to allow Morgan in.
FADE TO:
Shot of them embracing. Their interactions are loving but distanced.
CUT TO:
Scene 2:
INT. NIGHT.
S- (locks door behind her and M)
I’m so tired, let’s go to bed.
M-
Can I have a hug first?
S-
Of course. (One shot with this response and one without)
They hug for 15 seconds, then walk through kitchen to bedroom, kicking shoes off and plopping onto bed. S puts arm around M, leaning against the headboard, but looks off blankly. There is a 10 second pause while they relax together. Savannah is looking more at ease. Morgan jumps up and grabs sweatpants and t-shirt and changes as she begins to speak.
M-
Can we talk about that thing?
S- (eyes close tightly, she sighs)
Now?
M-
Yes.
S-
Really?
M-
Why can’t we just have a conversation?
S-
It’s been a really long day.
M stares angrily for a few seconds and then gets back in bed and turns over to go to sleep.
S gets up and turns off the light, still in her clothing from the day. She is laying uncomfortably on top of the covers.
A few seconds pass and M gets up and turns the light back on. She stands over S.
M- (angrily)
What the fuck. I told you some really personal shit the other night and you didn’t say anything or react or share anything back. Your face never even changed.
(S looks on at her blankly, fueling M’s anger)
M- Do you have anything to say? Fuck. I can’t read you. It’s like the longer I know you the farther away you are.
(S doesn’t say a word but curls up protectively in the bed on top of the bedding, appearing smaller)
M-
What are you? You don’t even seem to care. Can you say something? Do you even have any real feelings? Fuck it. I might as well be sleeping alone.
(Camera on S, she hears the door slam, jumps a little. Sighs and looks at door.)
FADE OUT
ACT 2
S wakes up, makes up her side of the bed, leaving Morgan’s side rumpled. Picks up a bunch of M’s clothes and things and folds them into a pile. She puts everything in one tidy spot on M’s side of the room. Sits on side of the bed. View of her back.
V.O. of M:
What are you?
S falls back on bed, stares at ceiling. Dusty ceiling fan.
Scene 2:
JUMP:
Desperation is shown in a series of jump cuts of phone calls and finding clothes to wear to go out. She gets dressed to go out, looks at self in mirror for a few seconds, she shakes her head at herself, (changes mind about going out), sees the journal in the mirror, then gets journal to write in. She sinks into the chair she was in at the beginning.
JOURNAL ENTRY: (Camera view of her writing)
What the fuck? I remember reading about that robot program that is supposed to make them feel human emotions. Step 1- Recognize the feelings. Step 2- Imitate. Step 3- “Feel TRULY alive!”
S-
Works for a fucking robot.
ACT 3
S is running a bath. She has changed her mind about going out. She locks the door. Climbs into the full bath with her clothes on. Lays down in the water and goes under. Still for a few seconds and then comes up gasping and choking. Water drains out while she is still.
JUMP:
Mirror is steamed up, S wipes off the mirror and looks at herself. Her face is now clean but is still blank. (Another take with makeup still on, but faint.)
FADE TO:
Ending credits.
Opening Scene:
Montage of closing doors, hands locking doors, gathering people’s things, cars driving off interspersed with Savannah sinking into red chair blankly over and over. V.O. of different people repeating the same line. “What are you?” or “Is there anyone in there?”
S- (blankly into air)
Fuck.
FADE TO:
Montage, fast paced, of first dates into the relationship with Morgan. Images of Savannah opening doors to allow Morgan in.
FADE TO:
Shot of them embracing. Their interactions are loving but distanced.
CUT TO:
Scene 2:
INT. NIGHT.
S- (locks door behind her and M)
I’m so tired, let’s go to bed.
M-
Can I have a hug first?
S-
Of course. (One shot with this response and one without)
They hug for 15 seconds, then walk through kitchen to bedroom, kicking shoes off and plopping onto bed. S puts arm around M, leaning against the headboard, but looks off blankly. There is a 10 second pause while they relax together. Savannah is looking more at ease. Morgan jumps up and grabs sweatpants and t-shirt and changes as she begins to speak.
M-
Can we talk about that thing?
S- (eyes close tightly, she sighs)
Now?
M-
Yes.
S-
Really?
M-
Why can’t we just have a conversation?
S-
It’s been a really long day.
M stares angrily for a few seconds and then gets back in bed and turns over to go to sleep.
S gets up and turns off the light, still in her clothing from the day. She is laying uncomfortably on top of the covers.
A few seconds pass and M gets up and turns the light back on. She stands over S.
M- (angrily)
What the fuck. I told you some really personal shit the other night and you didn’t say anything or react or share anything back. Your face never even changed.
(S looks on at her blankly, fueling M’s anger)
M- Do you have anything to say? Fuck. I can’t read you. It’s like the longer I know you the farther away you are.
(S doesn’t say a word but curls up protectively in the bed on top of the bedding, appearing smaller)
M-
What are you? You don’t even seem to care. Can you say something? Do you even have any real feelings? Fuck it. I might as well be sleeping alone.
(Camera on S, she hears the door slam, jumps a little. Sighs and looks at door.)
FADE OUT
ACT 2
S wakes up, makes up her side of the bed, leaving Morgan’s side rumpled. Picks up a bunch of M’s clothes and things and folds them into a pile. She puts everything in one tidy spot on M’s side of the room. Sits on side of the bed. View of her back.
V.O. of M:
What are you?
S falls back on bed, stares at ceiling. Dusty ceiling fan.
Scene 2:
JUMP:
Desperation is shown in a series of jump cuts of phone calls and finding clothes to wear to go out. She gets dressed to go out, looks at self in mirror for a few seconds, she shakes her head at herself, (changes mind about going out), sees the journal in the mirror, then gets journal to write in. She sinks into the chair she was in at the beginning.
JOURNAL ENTRY: (Camera view of her writing)
What the fuck? I remember reading about that robot program that is supposed to make them feel human emotions. Step 1- Recognize the feelings. Step 2- Imitate. Step 3- “Feel TRULY alive!”
S-
Works for a fucking robot.
ACT 3
S is running a bath. She has changed her mind about going out. She locks the door. Climbs into the full bath with her clothes on. Lays down in the water and goes under. Still for a few seconds and then comes up gasping and choking. Water drains out while she is still.
JUMP:
Mirror is steamed up, S wipes off the mirror and looks at herself. Her face is now clean but is still blank. (Another take with makeup still on, but faint.)
FADE TO:
Ending credits.
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