Episode I -- Giggle

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					                         “Like Father, Like Daughter” Shotlist
                                       Episode ii

                            Episode II -- Get Out!

01)    INT. THE VOID -- DAY

We open in the deepest black. A YELP, probably an older
man's YELP, obviously from pain inflicted...

                                                                             CUT TO:
   •   SHOT 1) This is just an all black frame. Sound design will be the hook for this
       shot.

02)    INT. A NEW YORK APARTMENT -- MOMENTS LATER

A studio, a posh studio, and in it, a woman. Park Soon
Seoul ("Jen") is wrestled from sleep by the YELP. She's
gorgeous, despite this rather unceremonious wake up.

HER SLEEPY EYE,

the one not buried in a pillow, opens and rolls about --
it's POV reflected as a series of FLASHES establishing the
room:

   •  SHOT 1A) ECU of Jen’s eye, opening. We’ll watch the pupil contract. I’d like
      this eye to be so big as to scare the be-jesus out of someone looking at it. Look at
      the opening footage of the remake to “The Island of Dr. Moreau” for specific
      image. In fact, we should just cut that out to place into our reference reel for
      the DP.
     • The eyes should roll about like it was just waking and trying to gain control of
         itself.
     • It might also be interesting to stage this with the Weaver Steadman head, so
         that we can pull out from the pupil, while rotating.
   • SHOT 2A) ECU but pulled back from 1A, just in case the other shot is too big,
      and the eye floating about is too scary. This size of this is more Aeon Flux (fly
      opening) than anything else. We’ll cut during blinks.
     • Will capture this to reference tape.
   • SHOT 2B) CU of the upper part of Jen’s head, with her eye at the center of the
      frame. Her face should be framed on all sides by pillows, like she was trying to
      shut the world out or something. Let her blink a couple of times, and just let the
      camera run. This shot is going to be a signature for the series to let’s take the
      time to get it right. On her blink, we’ll cut to the next shot.
   • SHOT 1B) Back to the ECU of the eye (the Island of Dr. Moreau shot), but this
      time the eye is focused, and we can see something inside. Not moving, certainly
      something tangible in the space.


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       •   We’ll need some nice roll-outs though this next series of shots for cutting
           purposes. We’re literally going to SUPERIMPOSE some of the things in
           Jen’s apartment into her eye – so that they appear as a reflection therein.
       •   Flashes and dissolves will connect the actual devices, and the reflections. This
           is kind of an elaborate sequence that will go from eye, to device, to eye, to
           device, with flashes and dissolves to get us from one to the next.
       •   We might also just use changes in focus to connect us from shot to shot,
           although that’s more difficult in terms of the shoot. So much of this is going to
           depend on getting the compositing correctly done so that the dissolves look
           natural.
       •   The eye should move around here, but more controlled, jetting from left to
           right, up to down, while we do dissolves inside it, and flash-cuts to the actual
           devices.

A) A wall-mounted SPK-4215, large flat screen TV;

   •  SHOT 3A) This series of shots is going to be inter-cut with the image of the
      “larger than life” eye, with that same image embossed inside it. Flashes will
      connect the shots, which should be moving, like the layered, fast edits in “The
      Game.” I’ll take them in order:
     • For the TV, WIDE-to-MEDIUM-to-WIDE, pan and dolly across its widest
         dimension, like a fly-by. We’re literally going to start left, and move right,
         quickly, panning about as we get to it’s center – very glossy (high priced-
         looking) shot.
   • SHOT 3B) Follow that with a shot of the Television from the bottom, CLOSE,
      where the Samsung logo is embossed. Shoot at an off angle, from below, with a
      change of focus through the shot: out-of-focus to in-focus to out-of-focus again,
      as if we were moving through the logo.
     • May want to try this as a fly-by as well, starting from the logo at the bottom,
         and panning and tilting up to the opposite end of the television.
     • May also want to consider starting from the bottom left of the logo and rotating
         and panning to the top-right, looking down on the logo. Some nice work could
         come from post done on that shot.

B) A glass and aluminum worktable with a SENS-860 laptop;

   •  SHOT 4A) For the TABLE WITH THE LAPTOP, again, we’re going to be
      moving. From an off-angle, above the table (but not directly above), and behind
      the laptop (which is open) -- CLOSE on the laptop. We’ll pan to the front of the
      laptop while tilting down to see the keys. This should look very fluid with the
      laptop well stationed and at an angle. The camera will jib around and then down
      in an arc.
     • Focus change at the end of this move to give us something to cut to. Force the
         keyboard out of focus once we’ve registered what it is.
   • SHOT 4B) Follow that with another CLOSE shot, changing focus, on the laptop,
      this one at an angle looking again at the Samsung logo. We may only use one of

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        these logo shots, probably at the end of the sequence, but this one will reflect the
        Samsung logo as it appears on the laptop.
       • We should go from being out of focus on the logo to coming into focus, and
           then moving out of focus again.

C) A flat black leather couch set between table and TV;

   •   SHOT 5) MEDIUM-WIDE on the couch, shooting from just ahead of it and to
       one side, favoring the laptop initially. This shot should be just above level with
       the couch, to give us an idea of the space in the apartment from the couch to the
       kitchen (or whatever’s back there). We’ll then PAN and TILT over to the back of
       the couch, favoring the television. The shot should give us some idea of the lay of
       the land of the apartment.

D) A clock, modern, tasteful -- the time is 10:15 AM;

       •   We’re skipping this shot, as we’ll do something more high tech. We’ll see the
           time on the TV in the shot of the TV. As long as the TV is
           GREENSCREENED, when we shoot, we should be OK.

E) The apartment's entrance door, multiply bolted, with a
mail slot cut into the lower third.

   •  SHOT 6A) WIDE, at an off-angle, toward the door, and looking down. This is
      the shot that sets up the mail slot. This should look like a security camera POV
      on the entrance side of the door.
     • Let’s push the envelope through the slot in this shot and in the next two shots.
   • SHOT 6B) MEDIUM-WIDE on the middle of the door, from slightly above, and
      pointing down. We should see the multiple bolts, the handle, but also the mail
      slot in the lower third.
     • Of course, we have to shoot the vellum envelope coming through the mail slot
         in this shot to get maximum coverage.
   • SHOT 6C) CLOSE on the mail slot as the vellum envelope comes through. This
      shot should include the mail slot in its entirety, without too much of the door, but
      some to act as a border. We may want to try this hot both dead-on the mail slot
      and from slightly below at an angle. Again, lots of overlap.
     • Consider shooting SHOTS 6A & 6B as a continuous push in and drop down to
         the mail slot, with SHOT 6C being a repeat of the action from a closer vantage
         point.

A silver vellum envelope, like an anti-static bag, SLIPS
through the mail slot to land on the floor, prompting a
STAGGERED RETREAT from the envelope through the room.
Fully established now and seen from overhead, it's a large,
open plan studio in all its glory.


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   •    SHOT 7A) This is a complicated dolly and jib shot that starts as a CLOSE shot
        on the floor, before the vellum envelope lands (in the area just behind the mail
        slot), and draws back quickly and smoothly to a WIDE aerial-view of the
        apartment, from clear across the room – a POV from an overhead security camera
        inside the apartment. The smoothness of the move isn’t all-important, as we’re
        going to use the staggered edit here, as shown on the sample tape.
       • This aerial view should be looking down from above Jen’s bed, which we may
           have to cheat, as she’s away from, and behind to door to one side in my vision
           of the apartment.
       • The aerial view is actually the POV of the video camera, so the video assist
           discussed in the 1st episode will be critical here, as I think this is the only way
           to get those shots to match.
       • Not sure how to accomplish this without the track and lights showing, but the
           final cut will look like the Aeon Flux staggered edit footage that I’ve put
           together (it’s on the sample reel).

The place is cold and morbidly clean: the kind of place
everyone wants to live, until one actually does. The POV
MORPHS to become VIDEO-LIKE: an OVERHEAD CAMERA'S POV,…

   •   SHOT 7B – This should just be the tail end of shot 7B. The only difference
       here is the dissolve from film footage to the DV footage of the video tap. This
       should be WIDE in size, and off-angle in composition.

…the POV of another SCC-520 camera.                       This one, HUMMING idly
and TWISTING, reveals...

   •   SHOT 8) This is a CLOSE shot of the actual camera, moving, in both it’s
       adjustment of focus, and in it’s rotation. It should rotate from its position looking
       at the doorway to Jen’s bed. This should be pretty simple.

...Jen, still prone on the bed.                      She is not alone.

   •    SHOT 7B) Back to the camera’s POV, this is the tail end of shot 7A – what the
        camera could see if it was actually working. We’ll see what it sees as it does it’s
        twist from the doorway to the bed. This is a WIDE shot, that should be closing in
        to a MEDIUM-WIDE the closer we get to the bed.
       • When the shot stops, we should be seeing Jen in bed, in the same position she
           was before, but we’ll be wider than we’ve ever been, and also above her.
       • For the sake of overlap, Jen should get up from the bed with a flourish of the
           bed sheets. We might decide to cut back to this over the course of her waking
           up and beyond, so have her go through the complete cycle of action here.
           Including getting up from the bed and covering the camera.
       • May want to have Jen walk up to this camera POV and cover it with her hand.



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The shot RE-MORPHS, as Jen, now fully among the living,
sits up quickly with a flourish of the bed sheets.

   •   SHOT 9A) CLOSE on Jen’s arm and hand, throwing off the bed sheets. This is
       from an off-angle, which should suggest the length of the bed in its composition.
       Shoot this from the bottom of the bed at one corner.
   •   SHOT 10A) MEDIUM on Jen, waking up and throwing off the bed sheets. This
       is from her side of the bed. Jen’s is going to sit up here, and go through her entire
       routine from this angle, which is, in-and-of-itself, pretty boring.
   •   SHOT 10B) CLOSE on Jen’s face and hair, from the same vantage point as
       SHOT 10A. This is just a closer shot to get her facial expressions. Again the full
       range of activity for overlap.

A gentle MOAN from behind spins her. It's a MAN'S MOAN,
emerging from a clutch of black curls peeking out from
beneath the sheets. She turns back around with a look: one
of those looks that says she's not really happy to be in
this bed, on this morning, with this guy. The look doesn't
last long.

   •  SHOT 11A) MEDIUM-WIDE from the bottom-end of Jen’s side of the bed,
      looking on at Jen and the Man. He should have his back to her. Full range of
      activity from Jen and the guy from this angle.
   • SHOT 9B) CLOSE on Jen’s face, from the same vantage point as SHOT 9A.
      This shot is on Jen’s face, as it fills the left side of the frame. She’s looking over
      her shoulder at the man, and the shot will change focus from her to the man, and
      back again maybe.
     • This shot will move into SHOT 9C from the same position.
   • SHOT 12A) CLOSE from below Jen, and to her left, looking up at her from the
      turn. The composition here is the thing – this is a glory shot. Leave the man out
      of focus, and hold Jen’s face close, and in the foreground.
   • SHOT 12B) ECU on Jen’s eyes. This is a simple but powerful shot, given the
      shot order.

A series of BANGS at the entrance door wipes it away. This
must have been the reason she woke up in the first place.

                                       JEN
                                Just a minute!!!!

Her response prompts another GROAN from the still sleeping
body on the bed. Another grimace from Jen, and she stands,
covering up the camera.

                                                                                  CUT TO:


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    •  SHOT 9C) CLOSE pan from SHOT 9B to Jen’s right to reveal the door behind
       her in the distance. This shot will come as a bit of a surprise to us, as we’re been
       in this composition for a bit in earlier shots. The shot should come as a reaction
       to the banging on the doors, and be a very smooth move. We’ll need a dolly to
       pull this off.
      • Jen’s full activity from here.
    • SHOT 6D) CLOSE on the door, where the knocking happens again.
    • SHOT 10A) Back to Jen’s MEDIUM, as she says the line.
    • SHOT 10C) WIDE on Jen’s side of the bed. We’ll play out the full scene from
       here, with the bed in the center of the frame, and the apartment in all it’s glory
       behind.
      • We may only end up using the tail-part of this shot for the finished product, but
           I want the full range for cutting.
      • Jen will walk directly into the camera until she covers it completely.

03)     INT. A NEW YORK APARTMENT -- MOMENTS LATER

At the desk, Jen eyeballs the envelope, admiring its
shininess, and the bright red, "Biohazard-like" symbol at
the seal.

•   SHOT 1A) MEDIUM on Jen’s upper torso and face, looking down to the vellum
    envelope. This should be shot from a similar angle as Scene 1, shot 9, just closer, and
    from slightly underneath. Full range here as well.
    • The framing of the shot to should have the vellum envelope horizontal to the
         bottom of the frame, and the Biohazard symbol overlapping the edge of the
         envelope in multiple places.
            • We must clearly be able to see Jen’s eyes in the framing, as we’ll use these
                for their intention to cut to the next shot.
•   SHOT 1B) Same setup as Scene1, SHOT 5, from the front of the couch, looking back
    to the bedroom area. This one is also MEDIUM-WIDE but wide enough to allow us
    to see a bit of the bed in the background. For the sake of time, it should be exactly
    the same shot.
        • Jen will look at the vellum envelope from here, and then move to the laptop to
            begin tapping on its keys. Full action here, including the look to the laptop.
•   SHOTS 2A-2E) This next set of shots (a series) should look like FOUND SHOTS of
    the vellum envelope. We’ll literally just do “tabletop” ECU shots of the envelope,
    and cut them together quickly, ala “The Game” (on the reference tape). We should
    literally pan across the vellum envelope, making sure to catch the biohazard symbol,
    and the seals. This is Jen’s POV of the envelope in all it’s details.
•   SHOT 1C) ECU on Jen’s eyes looking down at the envelope. We’ll also use this
    shot to register the look to the laptop. (Will take shot from Requiem for a Dream
    as reference).




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She turns her attention to the SENS-860 laptop and TAPS at
it deliberately, revealing ON ITS SCREEN a SURVEILLANCE
CAMERA POV of her hallway. Empty.

•   SHOT 3A) We’ll cover the specifics of what’s on the screen in a later section; this bit
    will just cover the non-CG stuff. On this shot, we’ll shoot a MEDIUM down onto the
    table, to catch Jen’s approach as a reflection in the table’s glass surface.
    • I’m stealing this directly from “The Game” although there, they used the cocaine
        mirror to catch Michael Douglas reflection as he approached the table. Here we’ll
        use the reflection in the glass table itself.
    • Much overlap here. Go through the entire range of action, including the
        manipulation of the keyboard, and then tearing of the vellum bag (presuming that
        we have more than 1).
    • Have to think about what’s the best surface to have on the floor here to assist with
        the reflection – thinking probably black carpet.
•   SHOT 3B) CLOSE on Jen’s eyes, as she turns to look to the laptop. We’re going to
    need this for editing reasons I think.
•   SHOT 4A1) CLOSE on a section of the table, where Jen puts the envelope down
    with the same hand she uses to touch the keyboard. Shoot down on this table, and get
    the whole action of her putting the envelope down, and picking it up. This is Jen’s
    POV.
    • Make sure to include the keyboard from the left corner, looking to Jen’s hand.
•   SHOT 5A) CLOSE of the screen, flat on, as if we were looking at it. This is a subtle
    change in angle, which will help with the cutting pattern I imagine for this sequence.
    • Will probably want to be a little below horizontal at the start of this shot, and then
        tilt up to be above horizontal. – this will require GREENSCREEN.
•   SHOT 3C1) CLOSE on the upper part of Jen’s face, shot from beneath her. We’ll
    catch her frown from here. – Empty. This is the laptop’s POV of Jen’s position and
    expression.

TAPPING a couple of other keys on the keyboard, she
switches between a half-dozen such POVs, from cameras
scattered about her apartment building. All also empty.

•   SHOT 4B) CLOSE on the hands on the keyboard. No tilt on this one, just shooting
    from horizontal on the hands, tapping keys.
•   SHOT 5B – 5E) CLOSE UPS of multiple POVs appearing in little windows. Ideally,
    the appearance of one POV will push back the others into a smaller window.
    • This is really just CLOSE shots of different angles on the laptop screen.
•   SHOT 3C2) CLOSE on Jen’s face, as she grows increasingly frustrated with the lack
    of info from the POVs.
    • Get multiple reactions from this vantage point, growing more disturbed and
        intense as Jen realizes that she has no idea who left this bundle at her doorstep. A
        final quick look to one corner of the laptop screen should be enough intention for
        us to cut to the next shot.


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On the last POV, though, the one keeping tabs on the
apartment building lobby, she spies a black-suited thug,
(one familiar to us maybe?) moving efficiently through the
lobby's revolving doors. Behind him, running quickly into
the revolving doors is a girl of ridiculous beauty in a
Yellow Rain-Slicker. She's certainly African-American,
sporting well-groomed curls or dreadlocks. She's out of
camera range in seconds.

•   SHOT 5F) CLOSE on the windowed-frame that has the shot in the lobby. This shot
    should fill up the whole screen. We’re probably going to do a “Push-IN” in post on
    this shot from emphasis, so we should leave a little margin for that.
    • We should keep the corner of the laptop in the shot as a bezel, perhaps, but this is
        a GREENSCREEN shot, in any case, so how we shoot it almost doesn’t matter.

A quick look of concern, and Jen RIPS open the envelope and
pours its contents into her hand: a shiny, silver compact
disc, and an SPH-I300 cell phone, one identical to the one
we saw John handling.

•   SHOT 3C3) The start of the “hip-hop montage.” This sequence of shots should have
    a rhythm similar to the “hip-hop montage” sequences in Requiem for a Dream, in
    terms of editing. It just requires a multitude of CLOSE shots of dissimilar
    compositions. First, we’ll start with Jen’s final decision. CLOSE on her eyes.
•   SHOT 4A1) This time, Jen picks up the envelope instead of putting it down. Again,
    same hand she used to touch the keyboard.
•   SHOT 3D) CLOSE on Jen. We’ll just see Jen eye the vellum envelope one last time
    with suspicion, and then move to rip it open.
•   SHOT 4C) CLOSE, Jen’s POV of the envelope in her hand. She reaches for it and
    tears it open. We should be looking down on the envelope.
•   SHOT 6) MEDIUM from INSIDE THE ENVELOPE. It pops open and Jen’s hand
    reaches in for its contents. We should be looking up from the bottom of the vellum
    envelope up to its seal. The seal should POP open, revealing light. Then Jen’s hand
    should come in and rummage around.
•   SHOT 3A) MEDIUM: Head and shoulders of Jen, reaching into the envelope to pull
    out the contents. When she gets them into the light cut to the next shot.
•   SHOT 4C) CLOSE on Jen’s POV of her hand with the phone and DVD. From here,
    we should see the DVD fall from her grasp, to land on the table. Shoot this @ 60
    frames and 24.
•   SHOT 7A) CLOSE on the DVD as it falls through the air.
•   SHOT 7B) CLOSE from the plane of the tabletop. Let’s watch the DVD spin to a
    stop.
•   SHOT 3C4) CLOSE on Jen as she turns to the spinning DVD.

The phone lands on the desk, a button EJECTS the laptop DVD
tray, and the disc is SLIPPED swiftly into the laptop.

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•   SHOT 4A2) Another hip-hop montage. This first shot is from the same setup of
    SHOT 4A1, but this time, the phone is placed beside the fallen DVD.
•   SHOT 8) ECU from the space between the DVD and the phone, as Jen’s hand
    reaches in and grabs the DVD to slide it away. Her reflection should e seen in the
    table, once the DVD is removed.
•   SHOT 9A) ECU on the DVD eject button of the laptop. Jen’s finger should come
    into the shot and depress the button. Shoot this @ 24 and 60 fps.
•   SHOT 9B) CLOSER from SHOT 9A.
•   SHOT 10A) ECU from above the laptop, at its edge, with the DVD tray ejecting out.
    Shoot this @ 24 and 60 fps.
•   SHOT 10B) ECU from straight on the laptop DVD tray @ its faceplate. We should
    see it shoot out right at us, coming into focus as it does. Shoot this @ 24 and 60 fps.
•   SHOT 10C) ECU from above DVD tray, as the DVD is snapped into place by Jen’s
    hand. We’re going to pull back to a WIDE of the shot, almost vertiginous.
•   SHOT 10B) Back to the ECU of the DVD tray faceplate, as the DVD tray is slid
    home by Jen’s hand.

Across the room, the SPK-4215, wide screen television COMES
TO LIFE with an image ON ITS SCREEN, a Biohazard symbol
matching the logo on the envelope.

•   SHOT 11A) ECU from same setup from Scene 1, SHOT 3B:the bottom of the
    Television @ the Samsung logo. We should be pulled far enough back, that we can
    see the TV “come to life,” i.e. change color in some way @ the screen. If we shoot
    this with a GREENSCREEN on the TV, then be can put the FLASH in ourselves in
    POST.
•   SHOT 11B) CLOSE on the TV screen, as the Biohazard logo dissolves in. The logo
    should fill the frame, quite literally. This shot is flat-on, and should be gotten with
    SHOT 11A, which should be gotten with the setups in Scene 1.

Jen watches intently, as the logo gives way to a male face,
a garden-variety THUG: blond, square-jawed, nattily
attired, and of no particular degree of attractiveness.

The body in the bed behind Jen sits up as the Caucasian
face ON THE TV speaks.

•   SHOT 11C) MEDIUM-WIDE on the TV with the Biohazard logo fully coming in.
    What follows is a pretty elaborate shot, that’s all an emotional response to what’s
    being seen, very much like what we saw with Jen’s father in the hallway, when he
    saw the thugs in the elevator. In this case, we’ll pull back sharply from the
    MEDIUM-WIDE on the TV all the way behind Jen to get an over-the-shoulder shot.
    Then we’ll wait a beat (where Jen may try to look a little behind her without looking
    behind her), and then careen the camera around Jen to an off angle that shows her


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    face in the foreground, reacting, and the Bed Guy in the background, completely out
    of focus.
    • We may need to PUSH the camera over a little to the right to get the proper shot
        with the BED-GUY in the background. He push should come as an additional
        beat, after her reaction to the TV. With this shot, the camera should move right
        SLOWLY, as the dialogue on the TV continues.
•   SHOT 12A) MEDIUM on the Bed-Guy, sitting up in the bed. He’s wiping at his
    eyes and blinking. Have the Bed-Guy go through his full activity here. He should
    say his lines and slowly wake up.
•   SHOT 12B) Same action as 12A, but closer.
•   SHOT 11B) Back to the frame-filling TV screen, as the face replaces the logo.
    • This is the great part about being an auteur: changing the script to suit your
        shooting needs. A the end of this beat, this shot will continue to the dissolve of
        the face to the biohazard symbol, and with that the screen will change to include a
        countdown clock, ticking down from 3 hours, and below that another timer
        indicating the current time. This gets rid of the clock shots in the script, which
        aren’t being featured anyway.

                                     THUG
                    Jen Park, we have your father. Our
                   intentions are not honorable. He is
                    not safe. We have anticipated your
                      potential estrangement as well as
                   your options for assistance and have
                    nullified them. You will find your
                        father's phone in the envelope
                 containing this disc. We will contact
                  you at its number within three hours.
                     Remain in your home, but be ready.

•   SHOT 11D1) This shot is essentially SHOT 11C, after the PAN around Jen, but
    before the PAN right to reveal her boyfriend behind her. It’s important with this shot
    to show that Jen’s reaction to hearing about her father is totally singular, and not
    shared initially. This should give us a better idea of the degree of interruption that he
    boyfriend poses.
•   SHOT 11D2) ECU on Jen’s eyes from the same vantage point ad SHOT 11D1. We
    should see the rage build up here, and then see her CLOSE her eyes to try and shut
    this whole crazy thing out.

The face disappears again behind the Biohazard symbol.                                 Jen
checks her watch -- it's 10:30.

•   SHOT 11B) Back to a close shot on the TV, as the logo disappears, and is replaced
    by a countdown timer.
•   SHOT 11D3) Back to the OTS shot of Jen with the countdown timer still present on
    the TV. She turns to the phone. Make sure the turn is visible.

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Quickly, she picks up the cell phone.                      The message from
Bertha is still clearly visible.

•   SHOT 4A4) The first shot is CLOSE favoring the phone.
•   SHOT 4A5) ECU on the phone’s screen, which comes on with Bertha’s message,
    without provocation. The message from Bertha is front and center.
•   SHOT 4A5) ECU on Bertha’s face. This is probably generated in post.
•   SHOT 4A3) CLOSE on Jen’s POV of her hand as she removes the phone, and brings
    it to her.

Her grip tightens on the phone, as the body in the bed
speaks.

                                   BED-GUY
                         Jen, is everything alright?

She tenses.

                                     JEN
                              Just get dressed…
                          …Get dressed and get out.

                                                                      FADE TO BLACK:

•   SHOT 13A) MEDIUM-WIDE on Jen, moving the phone close, and cringing with the
    knowledge of her father’s abduction. This a profile shot.
•   SHOT 13B) CLOSE on JEN from the same vantage point as SHOT 13A.
•   SHOT 11E) CLOSE on Jen, centered in the frame, and PANNING to the same
    position as SHOT 11C. Jen should be in the foreground, pushed to the left side of the
    shot, tight on her head at the end of the shot, with the Bed-Guy on the right and in the
    background, completely out of focus.
    • When the bed guy speaks, we should PAN to the right to do an OTS with the Bed-
       Guy out of focus on the bed, holding part of her hand with the phone in the frame.
       Use the word “Jen” as the trigger for the move, which should be QUICK and
       immediate.
    • Bed-Guy should complete his line, and we should see her tremble a bit.
    • Jen will then complete her line.
•   SHOT 11F) ECU on Jen, tighter, for the sake of tension. This is the from SHOT
    11C’s final position. She should crush the phone here.
•   SHOT 12B) Back to the boyfriend, the CLOSE shot. He’s still lounging on the bed,
    looking to Jen as she dismisses him.
•   SHOT 11E) End with this shot on Jen.

04)    INT. STUDIO SPACE – DAY (FOR DVD PORTION)


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                          “Like Father, Like Daughter” Shotlist
                                        Episode ii
…the logo gives way to a male face, a garden-variety THUG:
blond, square-jawed, nattily attired, and of no particular
degree of attractiveness.

…as the Caucasian face ON THE TV speaks.

                                    THUG
                   Jen Park, we have your father. Our
                  intentions are not honorable. He is
                   not safe. We have anticipated your
                     potential estrangement as well as
                  your options for assistance and have
                   nullified them. You will find your
                       father's phone in the envelope
                containing this disc. We will contact
                 you at its number within three hours.
                    Remain in your home, but be ready.

The face disappears again behind the Biohazard symbol.

•   SHOT 1A) WIDE angle to establish the space, which should not look particularly
    sinister.
    • We should do a couple of takes from a solid wide, unmoving. But then we should
        do some takes with the camera pushing in from the WIDE into a MEDIUM (head
        and shoulders) on the guy. We’ll get coverage on this with a couple of variations.
           • We’re going to shoot this whole setup on miniDV so that treating the
               footage to look like it came from a TV camera won’t be too hard.
•   SHOT 1B) Do the whole thing from a MEDIUM shot (head and shoulders).
•   SHOT 2A) Try a MEDIUM from a slightly off angle, ahead of the guy and to his left,
    and at some point have him turn to look at the camera, preferably at a point in the
    dialogue where a beat should be taken. This should not come across as a newscast
    type of setup, staged, but more sinister, now; like the guys who have John are wealthy
    enough to be able to afford a 3-camera setup on a soundstage.
•   SHOT 2B) CU on the guy, speaking sternly. This should help drive the point home
    during the final words of the speech, but we’ll do the whole thing in every setup.
    This shot should be from the same setup as 2A.


05) INT. Multiple shots around “Jen’s building.
…TAPPING a couple of other keys on the keyboard, she
switches between a half-dozen such POVs, from cameras
scattered about her apartment building. All also empty.

On the last POV, though, the one keeping tabs on the
apartment building lobby, she spies a black-suited thug,
(one familiar to us maybe?) moving efficiently through the
lobby's revolving doors. Behind him, running quickly into
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                          “Like Father, Like Daughter” Shotlist
                                        Episode ii
the revolving doors is a girl of ridiculous beauty in a
Yellow Rain-Slicker. She's certainly African-American,
sporting well-groomed curls or dreadlocks. She's out of
camera range in seconds.

•   SHOT 1) FOUND SHOTS all WIDE, in various places in Jen’s apartment building.
    Preferably shot in DV, for time and aesthetic. The shots should vary between moving
    and stationary shots. The minimum set should include the following:
•   SHOT 2) Security camera shot of an empty stairwell.
•   SHOT 3) Security camera shot of empty hallway – anonymous and generic.
•   SHOT 4) Security camera shot of another empty hallway – anonymous and generic.
•   SHOT 5) Security camera shot from directly in front of Jen’s door.
•   SHOT 6) Security camera shot of elevator exterior.
    • SHOT 7) Security camera shot of elevator interior.
    • SHOT 8) Security camera POV of elevator exterior in the lobby of Jen’s building.
       • The design of the layout of the CG shots, should be worked out early, so we
            will know how much to really fill in here.
    • SHOT 9) The last shot is a MEDIUM POV shot from a security camera in the
       lobby of Jen’s apartment building, pointed down and into the revolving doors.
       The angle has to be above and ahead a little so as to allow us to be able to see the
       faces of the people entering and passing through. This is a bit of a cheat, but
       necessary.
           • We may want to shoot this on film as well as video @ 60 fps and 24.
           • We’ll shoot both the exit of the thug (which will definitely be one of the
               guys in the elevator, in episode I), and then shoot the Rain-Slicker Girl’s
               exit.
           • The Rain Slicker Girl will have to look directly at the camera, for this shot
               to work.




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“Like Father, Like Daughter” episode II – Get Out! – scenes 1 & 2                         AuteurLabs, Inc.


                                                    Scene 1, Shot 1 –
                                                    This is just an all black frame. Sound design will
                                                    be the hook for this shot.




                                                    Scene 2, Shot 1A –
                                                    ECU of Jen’s eye, opening. We’ll watch the pupil
                                                    contract. I’d like this eye to be so big as to scare
                                                    the be-jesus out of someone looking at it. Look at
                                                    the opening footage of the remake to “The Island of
                                                    Dr. Moreau” for specific image. Consider Weaver
                                                    Steadman head on camera for this shot.



                                                    Shot 2A –
                                                    ECU but pulled back, just in case the other shot is
                                                    too big, and the eye floating about is too scary.
                                                    This size of this is more Aeon Flux (fly opening)
                                                    than anything else.




                                                    Shot 2B –
                                                    CU of the upper part of Jen’s head, with her eye at
                                                    the center of the frame. Her face should be framed
                                                    on all sides by pillows, like she was trying to shut
                                                    the world out or something.




                                                    Shot 1B –
                                                    Another ECU – just like the Island of Dr. Moreau,
                                                    but this time the eye is focused, and we can see
                                                    something inside. Not moving, certainly something
                                                    tangible in the space.




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                                                    Shot 3A –
                                                    For the TV, WIDE-to-MEDIUM-to-WIDE, pan
                                                    and dolly across its widest dimension, like a fly-by.
                                                    We’re literally going to start left, and move right,
                                                    quickly, panning about as we get to it’s center –
                                                    very glossy (high priced-looking) shot.




                                                    Shot 3B –
                                                    Follow that with a shot of the Television from the
                                                    bottom, CLOSE, where the Samsung logo is
                                                    embossed. Shoot at an off angle, from below, with
                                                    a change of focus through the shot: out-of-focus to
                                                    in-focus to out-of-focus again, as if we were
                                                    moving through the logo. We may want to pan
                                                    across an axis instead.




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“Like Father, Like Daughter” episode II – Get Out! – scenes 1 & 2                        AuteurLabs, Inc.


                                                    Shot 4A –
                                                    For the TABLE WITH THE LAPTOP, again,
                                                    we’re going to be moving. From an off-angle,
                                                    above the table (but not directly above), and behind
                                                    the laptop (which is open) -- CLOSE on the laptop.
                                                    We’ll pan to the front of the laptop while tilting
                                                    down to see the keys. This should look very fluid
                                                    with the laptop well stationed and at an angle. The
                                                    camera will jib around and then down in an arc.




                                                    Shot 4B –
                                                    Follow that with another CLOSE shot, changing
                                                    focus, on the laptop, this one at an angle looking
                                                    again at the Samsung logo. We may only use one
                                                    of these logo shots, probably at the end of the
                                                    sequence, but this one will reflect the Samsung
                                                    logo as it appears on the laptop.



                                                     Shot 5 –
                                                    MEDIUM-WIDE on the couch, shooting from just
                                                    ahead of it and to one side, favoring the laptop.
                                                    This shot should be above level with the couch.
                                                    We’ll then pan over to the back of the couch,
                                                    favoring the television. The shot should give us
                                                    some idea of the lay of the land of the apartment.




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                                                    Shot 6A –
                                                    WIDE, at an off-angle, toward the door, and
                                                    looking down. This is the shot that sets up the mail
                                                    slot, while revealing the clock. This should look
                                                    like a security camera POV on the entrance side of
                                                    the door.




                                                    Shot 6B –
                                                    MEDIUM-WIDE on the middle of the door, from
                                                    slightly above, and pointing down. We should see
                                                    the multiple bolts, the handle, but also the mail slot
                                                    in the lower third.




                                                    Shot 6C –
                                                    CLOSE on the mail slot as the vellum envelope
                                                    comes through. This shot should include the mail
                                                    slot in its entirety, without too much of the door,
                                                    but some to act as a border. We may want to try
                                                    this shot both dead-on the mail slot and from
                                                    slightly below at an angle.



                                                    Shot 7A –
                                                    This is a complicated dolly and jib shot that starts
                                                    as a CLOSE shot on the floor, before the vellum
                                                    envelope lands (in the area just behind the mail
                                                    slot), and draws back quickly and smoothly to a
                                                    WIDE aerial-view of the apartment, from clear
                                                    across the room – a POV from an overhead security
                                                    camera inside the apartment.



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                                                    Shot 7B –
                                                    This should just be the tail end of shot 7A. The
                                                    only difference here is the dissolve from Super
                                                    16mm footage to the DV footage of the video tap.
                                                    This should be WIDE in size, and off-angle in
                                                    composition.




                                                    Shot 8 –
                                                    This is a CLOSE shot of the actual camera,
                                                    moving, in both it’s adjustment of focus, and in it’s
                                                    rotation. It should rotate from its position looking
                                                    at the doorway to Jen’s bed. This should be pretty
                                                    simple.




                                                    Shot 7B –
                                                    Back to the camera’s POV, this is the tail end of
                                                    shot 7A – what the camera could see if it was
                                                    actually working. We’ll see what it sees as it does
                                                    it’s PAN from the doorway to the bed. This is a
                                                    WIDE shot, that should be closing in to a
                                                    MEDIUM-WIDE the closer we get to the bed.




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“Like Father, Like Daughter” episode II – Get Out! – scenes 1 & 2                         AuteurLabs, Inc.




                                                    Shot 9A –
                                                    CLOSE on Jen’s arm and hand, throwing off the
                                                    bed sheets. This is from an off-angle, which should
                                                    suggest the length of the bed in its composition.
                                                    Shoot this from the bottom of the bed at one corner.




                                                    Shot 10A –
                                                    MEDIUM on Jen, waking up and throwing off the
                                                    bed sheets. This is from her side of the bed. Jen’s
                                                    is going to sit up here, and go through her entire
                                                    routine from this angle, which is, in-and-of-itself,
                                                    pretty boring. WIDER THAN THIS.




                                                    Shot 10B –
                                                    CLOSE on Jen’s face and hair, from the same
                                                    vantage point as shot 10A. This is just a closer shot
                                                    to get her facial expressions. Again the full range
                                                    of activity for overlap.




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“Like Father, Like Daughter” episode II – Get Out! – scenes 1 & 2                         AuteurLabs, Inc.


                                                    Shot 11A –
                                                    MEDIUM-WIDE from the bottom-end of Jen’s
                                                    side of the bed, looking on at Jen and the Man. He
                                                    should have his back to her. Full range of activity
                                                    from Jen and the guy from this angle.




                                                    Shot 9B –
                                                    CLOSE from the same vantage point as shot 11A.
                                                    This one focused more on the man, than Jen. We
                                                    may want to try another take that’s more focused
                                                    on Jen.




                                                    Shot12A –
                                                    CLOSE on Jen’s face from the guy’s side of the
                                                    bed. Then we’ll move into and ECU from the
                                                    same vantage point.




                                                    Shot 12B –
                                                    ECU on Jen’s eyes. This is simple, but powerful
                                                    given the shot order.




                                                    Shot 9C –
                                                    CLOSE pan from shot 9B to Jen’s right to reveal
                                                    the door behind her in the distance. This shot will
                                                    come as a bit of a surprise to us, as we’re been in
                                                    this composition for a bit in earlier shots. The shot
                                                    should come as a reaction to the banging on the
                                                    doors, and be a very smooth move. We’ll need a
                                                    dolly to pull this off, I suspect.



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                                                    Shot 6D –
                                                    CLOSE on the door, where the knocking happens
                                                    again.




                                                    Shot 10A –
                                                    “Just a minute.”




                                                    Shot 10C –
                                                    WIDE on Jen’s side of the bed. We’ll play out the
                                                    full scene from here, with the bed in the center of
                                                    the frame, and the apartment in all it’s glory
                                                    behind. We may only end up using the tail-part of
                                                    this shot for the finished product, but I want the full
                                                    range for cutting. Jen will walk directly into the
                                                    camera until she covers it completely. WIDER



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“Like Father, Like Daughter” episode II – Get Out! – scene 3                              AuteurLabs, Inc.


                                                    Shot 1A –
                                                    MEDIUM on Jen’s upper torso and face, looking
                                                    down to the vellum envelope. The vellum envelope
                                                    should horizontal to the bottom of the frame, with
                                                    the Biohazard symbol overlapping the edge of the
                                                    envelope in multiple places. We must be able to
                                                    see Jen’s eyes.



                                                    Shot 1B –
                                                    Same shot as Scene1, Shot 5, from the front of the
                                                    couch, looking back to the bedroom area. This one
                                                    is also MEDIUM-WIDE but wide enough to allow
                                                    us to see a bit of the bed in the background. For the
                                                    sake of time, it should be exactly the same shot.




                                                    Shot 2A –
                                                    This next set of shots (a series) should look like
                                                    FOUND SHOTS of the vellum envelope. We’ll
                                                    literally just do “tabletop” ECU shots of the
                                                    envelope, and cut them together quickly, ala “The
                                                    Game” (on the reference tape). This is Jen’s POV
                                                    of the envelope in all it’s details.



                                                    Shot 2B –




                                                    Shot 2C –




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“Like Father, Like Daughter” episode II – Get Out! – scene 3                               AuteurLabs, Inc.


                                                    Shot 2D –




                                                    Shot 2E –




                                                    Shot 1C –
                                                    ECU on Jen’s eyes looking down at the envelope.
                                                    We’ll also use this shot to register the look to the
                                                    laptop. This shot is before Jen gets to the table.




                                                    Shot 3A –
                                                    On this shot, we’ll shoot a MEDIUM down onto
                                                    the table, to catch Jen’s approach as a reflection in
                                                    the table’s glass surface. When she gets there, push
                                                    in further to get a CLOSE on the section of the
                                                    table, where Jen puts the envelope down with the
                                                    same hand she uses to touch the keyboard. Then
                                                    we’ll TILT UP to see Jen’s face.


                                                    This is just for reference on which side of the table
                                                    we’re on.




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                                                    And this shows the relative size of the tilted shot.




                                                    Shot 3B –
                                                    Again on Jen’s eyes, so we have a way to get to
                                                    thew next shot with is a POV.




                                                    Shot 4A1 –
                                                    CLOSE on the keyboard from the left corner,
                                                    looking to Jen’s hand. Will probably want to be a
                                                    little below horizontal at the start of this shot, and
                                                    then tilt up to be above horizontal when the hands
                                                    have touched the keys.




                                                    Shot 5A –
                                                    CLOSE of the screen, flat on, as if we were looking
                                                    at it. This is a subtle change in angle, which will
                                                    help with the cutting pattern I imagine for this
                                                    sequence.




                                                    Shot 3C1 –
                                                    CLOSE on the upper part of Jen’s face, shot from
                                                    beneath her. We’ll catch her frown from here. –
                                                    Empty. This is the laptop’s POV of Jen’s position
                                                    and expression.




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                                                    Shot 4B –
                                                    No tilt on this one, just shooting from horizontal on
                                                    the hands, tapping keys.




                                                    Shot 5B –
                                                    Multiple POVs appearing in little windows.
                                                    Ideally, the appearance of one POV will push back
                                                    the others into a smaller window.




                                                    Shot 5C –




                                                    Shot 5D –




                                                    Shot 5E –




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“Like Father, Like Daughter” episode II – Get Out! – scene 3                               AuteurLabs, Inc.


                                                    Shot 3C2 –
                                                    Laptop’s POV. Get multiple reactions from this
                                                    vantage point, growing more disturbed and intense
                                                    as Jen realizes that she has no idea who left this
                                                    bundle at her doorstep. A final quick look to one
                                                    corner of the laptop screen should be enough
                                                    intention for us to cut to the next shot.



                                                    Shot 5F –
                                                    CLOSE on the windowed-frame that has the shot in
                                                    the lobby. This shot should fill up the whole
                                                    screen. We’re probably going to do a “Push-IN” in
                                                    post on this shot from emphasis, so we should leave
                                                    a little margin for that. We should keep the corner
                                                    of the laptop in the shot as a bezel, perhaps, but this
                                                    is a GREENSCREEN shot.




                                                    Do this PUSH-IN in post.




                                                    Shot 3C3 –
                                                    Laptop POV. This sequence of shots should have a
                                                    rhythm similar to the “hip-hop montage” sequences
                                                    in Requiem for a Dream, in terms of editing. It just
                                                    requires a multitude of CLOSE shots of dissimilar
                                                    compositions. First, we’ll start with Jen’s final
                                                    decision.




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                                                    Shot 4A1 –
                                                    Jen’s POV. She picks up the envelope instead of
                                                    putting it down. Again, same hand she used to
                                                    touch the keyboard.




                                                    Shot 3D –
                                                    CLOSE of Jen behind the desk. We’ll just see Jen
                                                    eye the vellum envelope one last time with
                                                    suspicion, and then move to rip it open.




                                                    Shot 4C –
                                                    CLOSE, Jen’s POV of the envelope in her hand.
                                                    She reaches for it and tears it open. We should be
                                                    looking down on the envelope.




                                                    Shot 6 –
                                                    MEDIUM from INSIDE THE ENVELOPE. It
                                                    pops open and Jen’s hand reaches in for its
                                                    contents. We should be looking up from the
                                                    bottom of the vellum envelope up to its seal. The
                                                    seal should POP open, revealing light. Then Jen’s
                                                    hand should come in and rummage around.



                                                    Shot 3A –
                                                    MEDIUM. Head and shoulders of Jen, reaching
                                                    into the envelope to pull out the contents. When
                                                    she gets them into the light cut to the next shot.




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                                                     Shot 4C –
                                                     Back to Jen’s POV of her hand with the phone and
                                                     DVD. From here, we should see the DVD fall
                                                     from her grasp, to land on the table. Shoot this @
                                                     60 frames and 24.




                                                     Shot 7A –
                                                     The DVD falls through the air to the table. This is
                                                     a candidate to drop for the sake of time.




                                                     Shot 7B –
                                                     CLOSE from the plane of the tabletop. Let’s watch
                                                     the DVD spin to a stop.




                                                     Shot 3C4 –
                                                     MEDIUM as Jen turns to the spinning DVD.




                                                     Shot 4A2 –
                                                     Another hip-hop montage. Jen’s POV as she puts
                                                     the phone beside the fallen DVD.




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                                                    Shot 8 –
                                                    ECU from above the DVD and cellphone(in the
                                                    space between them), as Jen’s hand reaches into the
                                                    shot and grabs the DVD, and slides it off the table.
                                                    Her reflection should bee seen in the table, once the
                                                    DVD is removed.




                                                    Shot 9A –
                                                    ECU on the DVD eject button of the laptop. Jen’s
                                                    finger should come into the shot and depress the
                                                    button. Shoot this @ 24 and 60 fps.




                                                    Shot 9B –
                                                    Same shot as 9A, but CLOSER.




                                                    Shot 10A –
                                                    ECU from above the laptop, at its edge, with the
                                                    DVD tray ejecting out. Shoot this @ 24 and 60
                                                    fps.




                                                    Shot 10B –
                                                    ECU from straight on the laptop DVD tray @ its
                                                    faceplate. We should see it shoot out right at us,
                                                    coming into focus as it does. Shoot this @ 24 and
                                                    60 fps.




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                                                    Shot 10C –
                                                    ECU as the DVD is snapped into place by Jen’s
                                                    hand. We’ll DRAW BACK from this shot, as she
                                                    pushes the DVD onto the spindle.




                                                    Shot 10B –
                                                    The DVD tray is slid home.




                                                    Shot 11A –
                                                    Same shot as Scene 1, Shot 3B, from the bottom of
                                                    the Television @ the Samsung logo. We should be
                                                    pulled far enough back, that we can see the TV
                                                    “come to life,” i.e. change color in some way @ the
                                                    screen.




                                                    Shot 11B –
                                                    CLOSE on the TV screen, as the Biohazard logo
                                                    dissolves in. The logo should fill the frame, quite
                                                    literally.




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                                                    Shot 11C –
                                                    MEDIUM-WIDE on the TV with the Biohazard
                                                    logo fully coming in. We’ll pull back sharply from
                                                    this size all the way behind Jen to get an OTS shot.
                                                    Use a RACK FOCUS between the two shots. The
                                                    similarity between this shot and the one in Episode
                                                    I is intentional. Like Father…



                                                    Then we’ll wait a beat, and then careen the camera
                                                    around Jen to an off angle that shows her face in
                                                    the foreground, reacting, and the Bed Guy in the
                                                    background.




                                                    This is a slow DOLLY to the right to reveal the
                                                    boyfriend in the background.




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                                                    Shot 12A –
                                                    MEDIUM on the Bed-Guy, sitting up in the bed.
                                                    He’s wiping at his eyes and blinking.




                                                    Shot 12B –
                                                    CLOSE on the Bed-Guy, sitting up in the bed.
                                                    He’s wiping at his eyes and blinking. Same action
                                                    as 12A, but closer. Have the boyfriend say his lines
                                                    and react to Jen’s response.




                                                    Shot 11B –
                                                    The Thugs face replaces the logo.




                                                    Shot 11D1 –
                                                    Jen’s reaction alone.




                                                    Shot 11D2 –
                                                    ECU on Jen’s eyes. We should see her fear and
                                                    anger build up from here. We should see her eyes
                                                    close eventually, and that should take us to the next
                                                    shot.




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                                                       Shot 11C –
                                                       Back to her shared experience. Her eyes are
                                                       closed. This is a difficult moment for this
                                                       couple. Make sure the boyfriend is moving in
                                                       the background.




                                                       Shot 12A –
                                                       Use the wider shot here, as this isn’t really about
                                                       him. He’s an observer, but also a passive
                                                       participant.




                                                       Shot 11B –
                                                       The logo again appears, and dissolves to a
                                                       countdown timer.




                                                       Shot 11D3 –
                                                       Back to the OTS shot of Jen with the countdown
                                                       timer still present on the TV. She turns to the
                                                       phone.




                                                       Shot 4A4 –
                                                       CLOSE favoring the phone.




Page 12 of 14                                                                                  Confidential
“Like Father, Like Daughter” episode II – Get Out! – scene 3                             AuteurLabs, Inc.


                                                    Shot 4A5 –
                                                    ECU on the phone’s screen, which comes on with
                                                    Bertha’s message, without provocation. The
                                                    message from Bertha is front and center.




                                                    Shot 4A5 –
                                                    ECU on Bertha’s face. This is probably done in
                                                    post.




                                                    Shot 4A3 –
                                                    Jen’s hand removes the phone, and brings it to her.




                                                    Shot 13A –
                                                    MEDIUM-WIDE profile on Jen, moving the phone
                                                    close, and cringing with the knowledge of her
                                                    father’s abduction.




                                                    Shot 13B –
                                                    CLOSE on Jen from the same position as shot 13A.
                                                    Jen should be in the foreground, pushed to the right
                                                    side of the shot, tight on her head.




Page 13 of 14                                                                                Confidential
“Like Father, Like Daughter” episode II – Get Out! – scene 3                            AuteurLabs, Inc.


                                                    Shot 11E –
                                                    “Jen is everything alright”




                                                    Shot 11F –
                                                    TIGHT on the phone as Jen crushes it.




                                                    Shot 12B –
                                                    “Just get dressed…”




                                                    Shot 11E –
                                                    “Get dressed and get out.”




Page 14 of 14                                                                               Confidential
“Like Father, Like Daughter” episode II – Get Out! – scenes 4 & 5                         AuteurLabs, Inc.


                                                    Scene 4, Shot 1A –
                                                    WIDE angle to establish the space, which should
                                                    not look particularly sinister. We’ll do a couple of
                                                    takes from a solid wide, unmoving. But then we
                                                    should do some takes with the camera pushing in
                                                    from the WIDE into a MEDIUM (head and
                                                    shoulders) on the guy.



                                                    Shot 1B –
                                                    Do the whole thing from a MEDIUM shot (head
                                                    and shoulders).




                                                    Shot 2A –
                                                    Try a MEDIUM from a slightly off angle, ahead of
                                                    the guy and to his left, and at some point have him
                                                    turn to look at the camera, preferably at a point in
                                                    the dialogue where a beat should be taken. This
                                                    should come across as a newscast type of setup,
                                                    like the guys who have John are wealthy enough to
                                                    be able to afford a 3-camera setup on a soundstage.


                                                    Shot 2B –
                                                    CU on the guy, speaking sternly. This should help
                                                    drive the point home during the final words of the
                                                    speech, but we’ll do the whole thing in every setup.




                                                    Scene 5, Shot 1 –
                                                    FOUND SHOTS all WIDE, in various places in
                                                    Jen’s apartment building. Security camera shot of
                                                    an empty stairwell.




Page 1 of 3                                                                                   Confidential
“Like Father, Like Daughter” episode II – Get Out! – scenes 4 & 5                       AuteurLabs, Inc.


                                                    Shot 2 –
                                                    FOUND SHOTS all WIDE, in various places in
                                                    Jen’s apartment building. Security camera shot of
                                                    empty hallway – anonymous and generic.




                                                    Shot 3 –
                                                    FOUND SHOTS all WIDE, in various places in
                                                    Jen’s apartment building. Security camera shot of
                                                    another empty hallway – anonymous and generic.




                                                    Shot 4 –
                                                    FOUND SHOTS all WIDE, in various places in
                                                    Jen’s apartment building. Security camera shot
                                                    from directly in front of Jen’s door.




                                                    Shot 5 –
                                                    FOUND SHOTS all WIDE, in various places in
                                                    Jen’s apartment building. Security camera shot of
                                                    elevator exterior.




                                                    Shot 6 –
                                                    FOUND SHOTS all WIDE, in various places in
                                                    Jen’s apartment building. Security camera shot of
                                                    elevator interior.




Page 2 of 3                                                                                 Confidential
“Like Father, Like Daughter” episode II – Get Out! – scenes 4 & 5                         AuteurLabs, Inc.


                                                    Shot 7 –
                                                    FOUND SHOTS all WIDE, in various places in
                                                    Jen’s apartment building. Security camera POV of
                                                    elevator exterior in the lobby of Jen’s building.




                                                    Shot 9 –
                                                    The last shot is a MEDIUM POV shot from a
                                                    security camera in the lobby of Jen’s apartment
                                                    building, pointed down and into the revolving
                                                    doors. The angle has to be above and ahead a little
                                                    so as to allow us to be able to see the faces of the
                                                    people entering and passing through.




Page 3 of 3                                                                                   Confidential

				
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