MISERABLE- Blank Sotryboard

-
I have completed an initial (and picture-less) draft of my storyboard for the short film. As only twenty frames were required I picked the beginning twenty shots. As can be seen in my shot list I had planned more complex and technical shots later in the piece but decided to map out the intro for now as it still offered variation and allowed me to play with sound and action on screen far more.

1 
 
Slug Line: INT. DERELICT HOUSE. MIDDAY. 
Action: Magnolia and Elf sit against the wall, surrounded by filth. Elf yawns and takes out a cigarette. 
Camera: Long two-shot, both in central frame. 
Sound: Distant sirens. Light breathing and wind. After 20 seconds of silence, Elf speaks- “Miserable fucking day innit.”- “I quit.” 
Transition: Cut 
Mise-en-scene: Elf- white shirt, black trousers, socks, black tie, sunglasses on, pistol tucked in the front of his trousers. Cigarettes in pocket (for later use). 
Magnolia- complete black suit, sunglasses hang from collar, his pistol lays next to him.  
Setting: Rubble and filth lays all around them, a half constructed building, completely barren. 
Duration: 40 seconds 
 
2 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Elf stands up, with his cigarette in his mouth, interacting with Magnolia (off-screen) 
Camera: Medium shot of Elf, tracking upward as he stands, following his face.  
Sound: Near silence. Elf speaks- “Oh yeah”- “When can we leave?” 
Transition: Cut 
Duration: 11 seconds 
 
3 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Magnolia shifts uncomfortably, knowing Elf will be irritated. 
Camera: Medium close-up on Magnolia, off-set from centre of frame, from a slight high-angle. 
Sound: Near silence. Magnolia speaks- “Give it an hour.” 
Transition: Cut 
Duration: 2 seconds 
 
4 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Elf quickly shoots a look of irritation and disbelief to Magnolia, delivered directly to the camera. 
Camera: Medium close-up on Elf, centre of frame. From a slight-low angle. 
Sound: Near silence. Elf speaks- “A fucking hour? You kidding?” 
Transition: Cut 
Duration: 2 seconds 
 
5 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Magnolia avoids eye contact with Elf, looking at his gun and twiddling his thumbs. 
Camera: Medium close-up on Magnolia, slightly off set from centre, from a slight high-angle. 
Sound: A distant car passes. Magnolia speaks- “It’s one hour, Elf. It’s not the end of the world.” 
Transition: Cut 
Duration: 2 seconds 
 
6 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Elf, still staring directly at Magnolia, half grins now, knowing he is winding him up. 
Camera: Medium close-up on Elf, centre of frame, from a slight low-angle. 
Sound: The car is still passing. Elf speaks- “Yeah but imagine what you could do with an hour?” 
Transition: Cut 
Duration: 2 seconds 
 
7 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Magnolia looks up to meet Elf’s eye contact, rolling his eyes.  
Camera: Medium close-up on Magnolia, now in centre of frame, from a slight high-angle. 
Sound: Near silence. Magnolia speaks- “Not a lot, to be honest... it’s really not much time.” 
Transition: Cut 
Duration: 3 seconds 
 
8 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Elf now turns slightly form Magnolia, looking off to the side of the camera. 
Camera: Medium close-up on Elf, centre of frame, form a slight low-angle. 
Sound: Near silence. Elf speaks- “It is though... especially with you- every second feels like a fucking minute.” 
Transition: Cut 
Duration: 3 seconds 
 
9 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Magnolia looks down to his thumbs again and utters under his breath.  
Camera: Medium close-up on Magnolia, centre of frame, from a slight high-angle. 
Sound: Near silence. Magnolia speaks- “Because I am clearly the one being a prick here.” 
Transition: Cut 
Duration: 1 second 
 
10 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Elf turns back to Magnolia, almost putting on a show for him. 
Camera: Medium close-up on Elf, centre of frame, from a slight low-angle. 
Sound: Near silence. Elf speaks- “Yeah... you sit there all bored with your little-” 
Transition: Cut 
Duration: 3 seconds 
 
 
11 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Elf begins to shift towards the door. Magnolia shoots him an irritated glare. 
Camera: Long two-shot of Magnolia and Elf in profile, with a great distance between them. Gentle push in. 
Sound: Near silence. Elf continues- “-little fucking bottom lip sticking out.”- “I’ll be back in a sec.” 
Transition: Cut 
Duration: 12 seconds 
 
12 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Magnolia abruptly looks up directly to Elf and points a commanding finger. 
Camera: Close-up on Magnolia, centre frame.  
Sound: Near silence. Magnolia speaks- “Don’t fucking go outside!” 
Transition: Cut 
Duration: 2 seconds 
 
13 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Elf moves back toward Magnolia slightly, almost squaring up to him.  
Camera: Long two-shot of Magnolia and Elf in profile. Great distance between them, with a gentle push-in.  
Sound: Near silence. A slight pause. Elf speaks- “Why not?”- “We’ve literally been here for like-” 
Transition: Cut 
Duration: 8 seconds 
 
14 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Magnolia looks back to his thumbs and delivers his line under his breath. 
Camera: Medium shot of Magnolia, he is in centre of the frame. Viewed form a slight high-angle. 
Sound: Near silence. Elf continues- “-a year.”- “Three hours... we’ve been here for three hours...” 
Transition: Cut 
Duration: 3 seconds 
 
15 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Elf paces away from Magnolia, turning away from the camera and elongating his line.  
Camera: Long shot of Elf in centre frame. He is viewed form an extreme low-angle.  
Sound: Sirens drone in and out. Elf speaks- “Ugh. I’m so bored.” 
Transition: Cut 
Duration: 4 seconds. 
 
16 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Magnolia points forcefully at the floor next to him. Elf moves back toward Magnolia, squaring up once more.  
Camera: Extreme long shot of Elf and Magnolia in profile. The distance between them is even greater.  
Sound: Sirens still ring distantly. Magnolia speaks- “Come here, put the fag away, sit down and shut up.”- “I’m just trying to keep us both alive.” 
Transition: Cut 
Duration: 14 seconds 
 
17 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Elf slumps against the wall and slowly slides down, against his better judgement. 
Camera: Tracking close-up on Elf as he drops next to Magnolia. 
Sound: Sirens fade out. Elf speaks- “Mag- I’m not being funny- but the cops have gone. No way are they still hanging around here. They’ll be doing a distance sweep by now.” 
Transition: Cut 
Duration: 5 seconds 
 
18 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Magnolia and Elf sit next to each other reflecting the opening shot.  
Camera: Medium two-shot of Magnolia and Elf in centre frame, exactly the same as first shot. 
Sound: Near silence once more. Magnolia speaks- “What do you mean ‘distance sweep’?”- “Like going around the city and that, if they haven’t checked-” 
Transition: Cut 
Duration: 6 seconds 
 
19 
 
Slug Line:  INT. DERELICT HOUSE. MIDDAY. 
Action: Magnolia turns directly to Elf, and glares at him.  
Camera: Medium shot on Magnolia, he is in centre frame, looking to Elf. The camera shifts with his head movement.  
Sound: Near silence. Elf continues- “-a building a few metres from the bank yet they clearly won’t check it now.”- “Elf, I’m asking you to fight your fag addiction for literally fifty minutes and just sit still-” 
Transition: Cut 
Duration: 12 seconds 
 
20 
 
Slug Line: INT. DERELICT HOUSE. MIDDAY. 
Action: Elf is irritated by the suggestion about his gun and holds his hands palm up in irritation. He delivers his reply directly forward, under his breath.  
Camera: Medium shot on Elf, he is in centre frame. He is viewed form a low-angle.  
Sound: Near silence. Magnolia continues- “And take that gun out your trousers, knowing you you’ll shoot your cock off somehow.”- “How stupid do you think I am?” 
Transition: Cut 
Duration: 7 seconds 
 
 

Comments

Post a Comment

Popular posts from this blog

Inspiration for Blue

-
Image
As I am very passionate about the script for Blue I wanted to look through some of my inspirations. First and foremost is Submarine by Richard Ayoade. The film focuses on Oliver Tate, a boy who obsesses over a girl at his school Jordana. As the story progresses the two form an uneasy relationship consisting of visiting cold British beaches, industrial estates and a lot of pyromania. Oliver is a self-absorbed character with much of the film focusing on his thoughts and concerns, with some internal sequences where he is seen in a black void talking directly to the camera, and a section where he lays on a bed which is eventually imposed over an endless sea. Much of the imagery is to do with the sea, and the visuals are incredibly 'blue' and overcast reflecting the British setting. It is easy to draw comparison between my script and Submarine. Second being a strange influence, but a large one none-the-less. Jaden Smith's SYRE is an incredibly reflective album looking ba...
Read more

Work on Dialogue in film

-
The rules of dialogue (From 'The Art and Science of Screenwriting' by Phil Parker- It has clear dramatic function (eg. advances the story, reveals character) It relates to the visual aspect of the moment It is character specific It is economical (short and to the point) It reflects the style of the narrative It delivers only what the action and visuals cannot It is speech, not prose After looking at these rules, we analysed extracts from various film scripts such as 'The Full Monty', 'Good Will Hunting' and 'Fargo'. My group focused on the 'Fargo' extract, seeing how the dialogue between Marge and Norm presented their marriage and the state of their relationship. We see it is stale, and had gone on so long that here is no sense of ego or need to entertain one another. They simply exist around one another, with no pressure on their relations. The conversation focuses on Norm's painting rather than the baby or Marge's current poli...
Read more

The Fly by Olly Williams

-
https://www.bing.com/videos/search?q=the+fly+short+film&view=detail&mid=A0C812280605FED6DDE2A0C812280605FED6DDE2&FORM=VIRE After viewing 'The Fly' twice, I overall like the film a lot. It delivers a fast and frantic story, as well as a relatively engaging protagonist and an entertaining structure. The film is solely set in the car of the driver (played by Jack Doolan), parked at the exterior of a bank his follow heist-members are robbing. The scenes are constantly cross-cut, between the hilarity of the drivers encounter with the fly and the panic inside the bank, only heard through muffled shouts coming form inside. We do not see the robbery, and by doing as such the film creates a comic tone while staying on a small budget and not having to choreograph an entire heist sequence. The camera work is mostly steady, maintaining a fairly regular medium shot and uses shots form the exterior of the car when the driver freaks out to show how small the issue truly is and ...
Read more