Scene 1: A day on the terrace
Location: The terrace
The setting is somewhere around dusk, where there is the silhouette of a boy and a girl sitting at the edge of a 4-5 storey terrace set against the horizon. From the focus, it is evidently noticeable that the boy has long brown hair and is sitting in a contemplative position looking at the sea crashing against the shores, throwing a shy glance at the girl every now and then. The girl has short red hair, tattoo on her back, and multiple piercings on the ear as the metal glints in the setting sun. She is dressed in a casual attire of tank tops and shorts, and there is a bubbly aura about her. The camera moves towards them and sets the closure, when it suddenly pans forward and shows both of them from an overhead angle. The boy’s converse shoes are shown tilted towards each other, whereas the girl is wearing home slippers, her toe nails painted in an off beat color and the heels of her feet bouncing off the wall every now and then. Moreover, it is easily noticeable that there is a pavement below their feet with a flow of people making their way by foot and an occasional car passing the curb.
Scene 2: The Conversation
Location: The terrace
The camera focuses on the lovely profile of the girl, and it is noticeable that there is laughter in her face and she is obviously swaying from one shoulder to the other expressing the joy in her heart. The boy’s side profile is noticeable from the angle, and it is evident that his piercing eyes are set on the horizon.
Girl: So, what now? We have the world at our feet…
Boy: What if they don’t exist?
Girl: (laughs) Lets find out...
And the camera pans in an overhead shot which shows their feet and the pavement again as the boy turns towards the girl.
Boy: How?
Here she looks down and a shingles single slippers off her feet and its drops to the flow of the pavement below. It almost misses the trunk of a man, who is walking and attending a phone call at the same time and hits the pavement with a smack. Nobody notices the slipper and they keep walking on. The next shot is that of the boy and girl looking and laughing with all their hearts.
Scene 3: What’s the difference?
Location: The terrace
Alternative 1
The camera is set on their backs and as the sun is setting, they huddle closer to each other till the girl kisses him on the cheek and rests her head on the shoulder looking down at the people making their way beneath her feet.
Alternative 2
The camera is set on their backs and it circles them both. The boy still looking at the horizon with piercing depth, and there is a grit resolute on the girls face. As the camera reaches their back, it is noticed that the girl is holding on the ledge with all her strength. Suddenly she let goes. In the next angle, she is shown flying towards the ground with a smile on her face till she reaches flat on the road and the blood drips from the orifices of the face.
At the hospital, the girl is shown lying on the bed with a cast on her leg staring out at the world beyond the window. The guy strolls towards her and with a shrug hands her the flowers and smiles as he notes the delight on her face.
Boy: You know, there is nothing much to matter in the world out there. But for us, my world resides in you as yours resides in me…
And the camera closes in on the girls face as the emotions cloud her eyes with his form obvious on her pupil.
Showing posts with label Cinema. Show all posts
Showing posts with label Cinema. Show all posts
Wednesday, February 10, 2010
Icarus Rising: A Rogue Production
Scene 1:
Location: Whistling Woods
Scope: Black and White, low frame rate
The focus is set in black and white (with distortions giving a vintage effect) on the luminous sight of the sky and the clouds hovering by and gradually moves on to the institute building with the students and faculty piling in and guests lolling about. The engagement of the human activity is shown through a slight jerky and archaic footage with major distortions (white spots and lines) till the camera deliberately pans right and focuses on a single individual who is mopping the floor.
Transition is shown through a deliberate err in editing where the screen blacks out for a second or half till the next scene
Scene 2:
Location: A & D Wing
Scope: Black and White, mediocre frame rate
The camera focuses on the man mopping the floor with a dull look on his face till a waltz number begins and his face perks up. He listens to the music with intent and then looks at the mop and bucket and continues with his work. Only this time he slowly starts dancing with the mop while indulging with the work. His little number becomes more and more romantic, as if the mop were an imaginary woman till he tips it and comes back with only one hand on the mop and the other in the air. He turns and slips, the mop drops and clatters to the floor.
Scene 3:
Location: A & D wing
Scope: Black and White, Increased frame rate
The man comes into the frame in an attempt to catch his balance. As soon as he does he notices the sudden change in his environment and he takes a look at himself. He finds himself dressed in waist high trousers, suspenders and hat and says something but is barely audible. He tries again till he says something obviously silly and then laughs as he realizes he can speak but there is no sound coming from his lips, instead he gives up and claps his hand to initiate a burst of sound in polka/ clarinet instrumental and does a silly jig. He tries to spin around and this time he finds a small red rose in the backdrop, whose red sparkles against the black and white back drop and he picks it up with a shy look in his eye.
Scene 4
Location: A & D Wing to Recreation Room
Scope: Technicolor
The footage shudders and the man thinks he is in and earthquake till he finds ground and balance and he sees himself without a warning in a Technicolor frame and looks at himself with an audible “aha!” He looks around at his surrounding and hears a small romantic tune playing in the distance.
Alternative 1:
See’s a woman in the distance wearing white/ blue and attempts a romantic interlude by handing her the red rose. They hold each other and he looks her in the eye, till she turns and in a dramatic mood throws her face in her hand and with the other pushes him away. He turns dejected and notices a door with the quote “Exit” and walks through it.
Alternative 2:
Hears the tune and follows it till he reaches a door (recreation room) and knocks on it with a romantic look in the eye. Instead of the door opening, there is another knock on the other side. He knocks again to hear another knock in reply. He knocks musically, to get another musical reply… till he bursts through the door.
Scene 5:
Location: Recreation Room
Scope: Eastman Chrome tone
He finds himself at the billiards table with the sound of jazz, and the footage mostly continues with shots of cigarette in hand, smoke twirling in the air, the clink of whisky tumblers and the activity of the billiards with emphasized focus on the pocket balls flying helter and skelter with a cue break, and the obvious passing of the gave with a few frames devoted to the roll of the red ball towards the pocket and the cue ball hitting the 8.
Scene 6:
Location: A & D Wing
Scope: Eastman Color.
Coming out of the room, the man walks back down with a simple smile as he forgets about his earlier activity and the wet floor, till he slips and falls hard to the floor.
Scene 7
Location: A & D Wing
Scope: True Resolution
Finding himself on the floor, the man is shown rising to the sound of inspirational music and finds himself rising back in his overalls and reaches the mop to look around at the true resolution. He goes back to work, the camera focuses on him and slowly focuses out spanning in a few seconds as the credits start rolling.
Location: Whistling Woods
Scope: Black and White, low frame rate
The focus is set in black and white (with distortions giving a vintage effect) on the luminous sight of the sky and the clouds hovering by and gradually moves on to the institute building with the students and faculty piling in and guests lolling about. The engagement of the human activity is shown through a slight jerky and archaic footage with major distortions (white spots and lines) till the camera deliberately pans right and focuses on a single individual who is mopping the floor.
Transition is shown through a deliberate err in editing where the screen blacks out for a second or half till the next scene
Scene 2:
Location: A & D Wing
Scope: Black and White, mediocre frame rate
The camera focuses on the man mopping the floor with a dull look on his face till a waltz number begins and his face perks up. He listens to the music with intent and then looks at the mop and bucket and continues with his work. Only this time he slowly starts dancing with the mop while indulging with the work. His little number becomes more and more romantic, as if the mop were an imaginary woman till he tips it and comes back with only one hand on the mop and the other in the air. He turns and slips, the mop drops and clatters to the floor.
Scene 3:
Location: A & D wing
Scope: Black and White, Increased frame rate
The man comes into the frame in an attempt to catch his balance. As soon as he does he notices the sudden change in his environment and he takes a look at himself. He finds himself dressed in waist high trousers, suspenders and hat and says something but is barely audible. He tries again till he says something obviously silly and then laughs as he realizes he can speak but there is no sound coming from his lips, instead he gives up and claps his hand to initiate a burst of sound in polka/ clarinet instrumental and does a silly jig. He tries to spin around and this time he finds a small red rose in the backdrop, whose red sparkles against the black and white back drop and he picks it up with a shy look in his eye.
Scene 4
Location: A & D Wing to Recreation Room
Scope: Technicolor
The footage shudders and the man thinks he is in and earthquake till he finds ground and balance and he sees himself without a warning in a Technicolor frame and looks at himself with an audible “aha!” He looks around at his surrounding and hears a small romantic tune playing in the distance.
Alternative 1:
See’s a woman in the distance wearing white/ blue and attempts a romantic interlude by handing her the red rose. They hold each other and he looks her in the eye, till she turns and in a dramatic mood throws her face in her hand and with the other pushes him away. He turns dejected and notices a door with the quote “Exit” and walks through it.
Alternative 2:
Hears the tune and follows it till he reaches a door (recreation room) and knocks on it with a romantic look in the eye. Instead of the door opening, there is another knock on the other side. He knocks again to hear another knock in reply. He knocks musically, to get another musical reply… till he bursts through the door.
Scene 5:
Location: Recreation Room
Scope: Eastman Chrome tone
He finds himself at the billiards table with the sound of jazz, and the footage mostly continues with shots of cigarette in hand, smoke twirling in the air, the clink of whisky tumblers and the activity of the billiards with emphasized focus on the pocket balls flying helter and skelter with a cue break, and the obvious passing of the gave with a few frames devoted to the roll of the red ball towards the pocket and the cue ball hitting the 8.
Scene 6:
Location: A & D Wing
Scope: Eastman Color.
Coming out of the room, the man walks back down with a simple smile as he forgets about his earlier activity and the wet floor, till he slips and falls hard to the floor.
Scene 7
Location: A & D Wing
Scope: True Resolution
Finding himself on the floor, the man is shown rising to the sound of inspirational music and finds himself rising back in his overalls and reaches the mop to look around at the true resolution. He goes back to work, the camera focuses on him and slowly focuses out spanning in a few seconds as the credits start rolling.
Film Name: Icarus Rising
Duration : 3 minutes
Basic Concept
The cinema is a basic compilation of random footage with a slight sync in the storyline constituting the life of cinema and the men behind it. The cinema starts with old format analog countdown timer which fades into blackness and the first footage is shown in black and white of the material depth in life through the focus on the institute building till it comes across a single man with limited means and destitute looks mopping the floor (in a very low frame per second rate) and a sound which suspiciously sounds like marching behind. This is shown through the old school thought of video reminiscent of the late 1900’s
The second scene chances on the imagination where the man picks up his mop and dances with it at the sound of a waltz number (Mozart/ Wagner) as he continues mopping the floor. This is shown in the same archaic footage as the start till the mop drops and he slips on the floor and gathers his balance.
In the third scene the man finds himself in the next frame into the depth of his imagination and way deep into in his logistic schools of humour (still in his conscious mind) which is represented through his costume of waist high trousers, suspenders, tie and complete with a bowler/ fedora hat. He looks back where he dropped his mop and finds a cane instead which he picks up. The footage is comparatively a lot more improved than the former with a slightly increased frame rate, the sound of a whirr against the soothing essence of a clarinet playing and reminiscent of the time of Charlie Chaplin and Buster Keaton in a blend (reference: limelight).
The progress of the concept carries on giving scope of the various shades in cinema right from the romanticism of the Technicolor in the 60’s with romantic music calling for a lover, to the bohemian and beatnik 80’s with Eastman Chrome Tones and the setting of the present times in true resolution. .
Basic Concept
The cinema is a basic compilation of random footage with a slight sync in the storyline constituting the life of cinema and the men behind it. The cinema starts with old format analog countdown timer which fades into blackness and the first footage is shown in black and white of the material depth in life through the focus on the institute building till it comes across a single man with limited means and destitute looks mopping the floor (in a very low frame per second rate) and a sound which suspiciously sounds like marching behind. This is shown through the old school thought of video reminiscent of the late 1900’s
The second scene chances on the imagination where the man picks up his mop and dances with it at the sound of a waltz number (Mozart/ Wagner) as he continues mopping the floor. This is shown in the same archaic footage as the start till the mop drops and he slips on the floor and gathers his balance.
In the third scene the man finds himself in the next frame into the depth of his imagination and way deep into in his logistic schools of humour (still in his conscious mind) which is represented through his costume of waist high trousers, suspenders, tie and complete with a bowler/ fedora hat. He looks back where he dropped his mop and finds a cane instead which he picks up. The footage is comparatively a lot more improved than the former with a slightly increased frame rate, the sound of a whirr against the soothing essence of a clarinet playing and reminiscent of the time of Charlie Chaplin and Buster Keaton in a blend (reference: limelight).
The progress of the concept carries on giving scope of the various shades in cinema right from the romanticism of the Technicolor in the 60’s with romantic music calling for a lover, to the bohemian and beatnik 80’s with Eastman Chrome Tones and the setting of the present times in true resolution. .
Film Name: Icarus Rising
Duration : 3 minutes
Basic Concept
The cinema is a basic compilation of random footage with a slight sync in the storyline constituting the life of cinema and the men behind it. The cinema starts with old format analog countdown timer which fades into blackness and the first footage is shown in black and white of the material depth in life through the focus on the institute building till it comes across a single man with limited means and destitute looks mopping the floor (in a very low frame per second rate) and a sound which suspiciously sounds like marching behind. This is shown through the old school thought of video reminiscent of the late 1900’s
The second scene chances on the imagination where the man picks up his mop and dances with it at the sound of a waltz number (Mozart/ Wagner) as he continues mopping the floor. This is shown in the same archaic footage as the start till the mop drops and he slips on the floor and gathers his balance.
In the third scene the man finds himself in the next frame into the depth of his imagination and way deep into in his logistic schools of humour (still in his conscious mind) which is represented through his costume of waist high trousers, suspenders, tie and complete with a bowler/ fedora hat. He looks back where he dropped his mop and finds a cane instead which he picks up. The footage is comparatively a lot more improved than the former with a slightly increased frame rate, the sound of a whirr against the soothing essence of a clarinet playing and reminiscent of the time of Charlie Chaplin and Buster Keaton in a blend (reference: limelight).
The progress of the concept carries on giving scope of the various shades in cinema right from the romanticism of the Technicolor in the 60’s with romantic music calling for a lover, to the bohemian and beatnik 80’s with Eastman Chrome Tones and the setting of the present times in true resolution. .
Basic Concept
The cinema is a basic compilation of random footage with a slight sync in the storyline constituting the life of cinema and the men behind it. The cinema starts with old format analog countdown timer which fades into blackness and the first footage is shown in black and white of the material depth in life through the focus on the institute building till it comes across a single man with limited means and destitute looks mopping the floor (in a very low frame per second rate) and a sound which suspiciously sounds like marching behind. This is shown through the old school thought of video reminiscent of the late 1900’s
The second scene chances on the imagination where the man picks up his mop and dances with it at the sound of a waltz number (Mozart/ Wagner) as he continues mopping the floor. This is shown in the same archaic footage as the start till the mop drops and he slips on the floor and gathers his balance.
In the third scene the man finds himself in the next frame into the depth of his imagination and way deep into in his logistic schools of humour (still in his conscious mind) which is represented through his costume of waist high trousers, suspenders, tie and complete with a bowler/ fedora hat. He looks back where he dropped his mop and finds a cane instead which he picks up. The footage is comparatively a lot more improved than the former with a slightly increased frame rate, the sound of a whirr against the soothing essence of a clarinet playing and reminiscent of the time of Charlie Chaplin and Buster Keaton in a blend (reference: limelight).
The progress of the concept carries on giving scope of the various shades in cinema right from the romanticism of the Technicolor in the 60’s with romantic music calling for a lover, to the bohemian and beatnik 80’s with Eastman Chrome Tones and the setting of the present times in true resolution. .
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