INT. MARY'S MOTEL ROOM - (NIGHT) Mary is seated at the small desk, engrossed in figuring in a small notebook. We see from these figures a calculation which indicates her intention to make a restitution of the money she has used of the forty thousand dollars. We see, too, her bankbook. The paper reads thus: top figure, 40,000; directly beneath it 500, the amount used for the new car; total after subtraction, 39,500. In another spot we see a figure which matches the balance in her bankbook; 624.00. Beneath this is the figure 500, and the amount after subtraction, 124.00. She studies the figures, sighs, not wearily but with a certain satisfaction, with the pleasure that comes when one knows that at any cost one is going to continue doing the right thing. After a moment she tears the page out of the notebook and, rising, begins to rip it into small pieces. She goes into the bathroom, drops the pieces into the toilet bowl, flushes the toilet. Then she drops her robe and steps into the tub and turns the shower on. INT. MARY IN SHOWER Over the bar on which hangs the shower curtain, we can see the bathroom door, not entirely closed. For a moment we watch Mary as she washes and soaps herself. There is still a small worry in her eyes, but generally she looks somewhat relieved. Now we see the bathroom door being pushed slowly open. The noise of the shower drowns out any sound. The door is then slowly and carefully closed. And we see the shadow of a woman fall across the shower curtain. Mary's back is turned to the curtain. The white brightness of the bathroom is almost blinding. Suddenly we see the hand reach up, grasp the shower curtain, rip it aside. CUT TO: MARY - ECU As she turns in response to the feel and SOUND of the shower curtain being torn aside. A look of pure horror erupts in her face. A low terrible groan begins to rise up out of her throat. A hand comes into the shot. The hand holds an enormous bread knife. The flint of the blade shatters the screen to an almost total, silver blankness. THE SLASHING An impression of a knife slashing, as if tearing at the very screen, ripping the film. Over it the brief gulps of screaming. And then silence. And then the dreadful thump as Mary's body falls in the tub. REVERSE ANGLE The blank whiteness, the blur of the shower water, the hand pulling the shower curtain back. We catch one flicker of a glimpse of the murderer. A woman, her face contorted with madness, her head wild with hair, as if she were wearing a fright-wig. And then we see only the curtain, closed across the tub, and hear the rush of the shower water. Above the shower-bar we see the bathroom door open again and after a moment we HEAR the SOUND of the front door slamming. CUT TO: THE DEAD BODY Lying half in, half out of the tub, the head tumbled over, touching the floor, the hair wet, one eye wide open as if popped, one arm lying limp and wet along the tile floor. Coming down the side of the tub, running thick and dark along the porcelain, we see many small threads of blood. CAMERA FOLLOWS away from the body, travels slowly across the bathroom, past the toilet, out into the bedroom. As CAMERA approaches the bed, we see the folded newspaper as Mary placed it on the bedside table.
narrative hook in films/ AIDA in advertising
A narrative hook (or hook) is a literary technique in the opening of a story that “hooks” the reader’s attention so that he or she will keep on reading. The “opening” may consist of several paragraphs for a short story, or several pages for a novel, but ideally it is the opening sentence.
in advertising…
AIDA is an acronym used in marketing and advertising that describes a common list of events that may occur when a consumer engages with an advertisement.
- A – attention (awareness): attract the attention of the customer.
- I – interest of the customer.
- D – desire: convince customers that they want and desire the product or service and that it will satisfy their needs.
- A – action: lead customers towards taking action and/or purchasing.
Using a system like this gives one a general understanding of how to target a market effectively. Moving from step to step, one loses some percent of prospects.
source: wikipedia
Sample script page
Dream Sequence in 3 frames
The Saragossa Manuscript: Restored Edition – Wojciech Has (1973) – Clip 1
- How many shots are in this scene?
- How many keyframes?
09.30.2016 Handout
First lecture 09.30.16
Prof. Bzymek
Order of documents for film development
Synopsis – short, present tense
Scene cards – scene order
Treatment – long document (40 pages) with descriptions of camera movement etc.
Script – 1 minute per page
Storyboard
Shotlist
Shooting script
Storyboard:
1.Thumbnails (pencil – gesture)
2. Roughs (pencil – aspect ratio and framing)
—show director—
3. Roughs II
3. Finals (ink)
Essential vocabulary
scene. : a division of an act in a play during which the action takes place in a single place without a break in time. : a part of a play, movie, story, etc., in which a particular action or activity occurs. : a view or sight that looks like a picture.
In filmmaking and video production, a shot is a series of frames, that runs for an uninterrupted period of time. (from when the camera starts to when it stops)
In film, a sequence is a series of scenes that form a distinct narrative unit, which is usually connected either by unity of location or unity of time.
In filmmaking, video production, animation, and related fields, a film frame or video frame is one of the many still images which compose the complete moving picture.
A frame of a storyboard is a single cell of the storyboard document which can represent both a shot or a keyframe.
source: wikipedia.com
6 BASIC TYPES OF SHOTS: Abbreviations
1. ECU
2. CU
3. MS
4. FS
5. WS or LS
6. EWS or ELS