FILM 2: THE CHASE OR SUSPENSE SCENE
DIRECTOR’S STATEMENT OF INTENT
This statement of intent is designed to train
your mind, eye and heart to shoot purposefully. You should prepare it well before
shooting. After reading the assignment on the last page, briefly—but
thoughtfully and specifically—answer the following questions.
1. What is the story--the beginning, middle, and end--of this film in three
or four sentences? In other words, what happens in this scene as it starts, as
it progresses, and as it ends?
A woman cheats on her husband at their apartment while he is on a night
shift at the hospital. He gets off early and begins to come home while she is
still with her lover. She doesn’t see the text he sends her, informing her that
he’s coming home early until it is nearly too late. He arrives home, and while
outside the door, realizes that she is with a man, but does not let them know
he knows. The man leaves, the husband comes in, and acts like everything is
normal.
2. What is the backstory of this scene? Why is this happening to these
characters? What does each person want? Why do they want it?
Ella and Mark
(the wife and husband) have been married for about two months. Everything has
gone fine, but as time in has passed in the marriage, Ella has begun to get
anxious about how permanent the marriage is, fearing that she made the wrong
choice, or that she could have made a better choice. She began reaching out to
Cooper, an old long-term boyfriend from college, to get advice and seek comfort
when these thoughts would arise. She was afraid of Mark knowing about her
commitment fears this early in the marriage, so she would only call Cooper when
Mark (who is a nurse) had night shifts at the hospital. Pretty soon, Cooper
began coming over to offer better, more personal consolation. Cooper began
making advances, and Ella didn’t resist—more out of the fact that she found
comfort in doing something promiscuous (because it could make her feelings of
commitment feel less present) than out of feelings she still had for Cooper.
In this case,
the only reason there is any danger for Ella and Cooper is because Ella doesn’t
notice her phone one night when Mark texts her. But they have put themselves
into this situation.
Ella wants to
resolve her anxieties about her marriage without Mark finding out she has them.
More urgently and tangibly, she doesn’t want Mark to find out about Cooper.
Cooper wants things to go well with Ella. He doesn’t want Mark to find
out about their relationship.
Mark simply
wants to come home. When he finds out about Cooper, he wants to keep Cooper and
Ella from knowing he knows, because he is hurt and scared, and worries that he
will lose the upper hand in the situation if they know.
3. What, specifically, must the audience understand to engage in the story?
How do you intend to communicate that narrative (not emotional) information?
The audience
must understand that Ella and Mark are married, that Mark doesn’t know about
Cooper, that Mark is coming home, and that Cooper and Ella don’t know that Mark
is coming home. I plan to communicate this in a variety of ways. I will use
cues to show that Mark and Ella are married (such as wedding rings and Mark
calling Ella pet names in a text), as well as having Ella and Cooper talk about
it. Ella will say a line like “Mark doesn’t know,” in reference to Cooper. The
rest of the information will be communicated visually and through the
characters’ behavior and tone (everyone will be fairly relaxed).
4. In mainstream media, some scenes are simply chase scenes or scenes of
suspense. However, for the goals of this class, there should be more going on
than that. Assume that this scene is from a larger film. Explain the narrative,
emotional and thematic purpose of this scene in the larger story:
In the end of the scene, Mark will know what is going on between Cooper
and Ella but will act like everything is normal. As such, this scene will set
up that tension. Thematically, I would hope the rest of the story would deal
with the choices that face the characters after this. Does Mark love Ella but
fear losing her in such a way that he will choose to keep his mouth shut in
hopes that it will just blow over, or does he confront her calmly or
aggressively? Does Ella tell Mark on her own, or does she decide to break it
off with Cooper before he finds out (as she thinks)?
5. What emotions do you want the audience to experience as they watch this
scene? How do you intend make this happen?
I want them to, obviously, experience suspense. I want them to go
through a range of emotions, thinking at some points that they want Mark to get
there in time to find out, but at other times hoping Cooper gets out in time so
that there is no confrontation. I really hope they empathize with Ella instead
of just hating her, as well, hoping that she manages to figure out what she
should do. I plan to convey the range of emotions by cutting back and forth
between characters, giving time for the audience to understand the wants and
desires of each character as the scene progresses. Additionally, we will see
Ella and Cooper not know as Mark is getting closer, upping the stakes the
entire time.
6. What is the first image of the scene? What is the final image of the scene?
Why are you choosing these specific images?
The first image
is of Ella and Cooper sitting on the couch, with Ella lying down and Cooper
playing with her hair. The final image is of Ella and Mark doing the exact same
thing (only Mark has replaced Cooper). I really like the first image because it
will feel calm and right. It will not be until later, when I introduce Mark,
that the audience will realize it’s something they probably disagree with. As
such, beginning with something so apparently calm will create an immediate
spike in tension as soon as we figure out what’s really going on. I want to end
with a final shot that mirrors this one because it will be “right,” but because
of Mark’s new knowledge (that Ella doesn’t know about) it will actually be
quite intense. It will fix everything wrong with the first image, but instead
of being calm and resolved, will hopefully be at the highest moment of tension.
7. Why is this scene personal to you? (Please don’t answer, “Because I’ve
always wanted to make a chase scene!”) What personal experience(s) does it
remind you of? Ask yourself, “Why do I
need to make this scene?”
I’ve never really been in a relationship. However, I’ve
come close, and as I’ve approached them, the anxieties and questions and
obligations that come along with that have raced through my mind. It seems like
a very difficult thing to get right. I thus think everyone makes mistakes in
relationships, and so forgiveness and learning seems to be the most important
element of a relationship to me. Additionally, although they have not been in
regards to romantic relationships, I have definitely made choices that I knew
were wrong when I made them, because they satisfied some anxiety I was having.
As such, I understand that vulnerability that comes with that (Ella’s
predicament). I think that that situation is very scary and very difficult, but
also deserves to be criticized (because, obviously, there is a wrong choice
involved). As such, I want to show the tension of being in that situation. I
also really like Mark’s situation because being in the hands of that kind of
knowledge puts him in a position of great power (he could help Ella out of her
predicament by trying to understand her, or he could scold and condemn her, and
there are good reasons to do both). I think the tension of knowing that you
can, but not knowing whether you should, calmly forgive or ask to help someone,
is another great thing.
8. Review the 11 subcomponents of space. What are the overall rules for how
you will use space in your film? (For example, will one character exist
primarily in flat space while the other exists in deep space?) How will use
contrast and affinity within shots and from shot to shot? For each rule,
articulate why will you use space in this way. Be specific.
I plan on
keeping Ella and Cooper in primarily flat space as long as they are calm (until
they realize that Mark is coming home). As their anxiety increases, their space
will become bigger and more complex. Additionally, in moments of high suspense
(such as when Cooper opens the door to leave), there will be quick changes
(such as camera movements within one shot) in which the space will change from
flat to deep (or vice versa). For most of Mark’s trip home, I hope to use deep
space, showing that he is always moving forward, closing the gap between him
and the others. Once he is at the apartment complex, I will show him in flat
space, leaving out depth cues so that what is known and what is unknown feels
more restrictive.
9. What focal lengths will you use? Why?
In shots of
deep space (or flat space turning into deep space), I will use wide lenses
(shorter than 35mm) to open up the focal length and make the space feel more
present. In medium to wide shots of flat space, I will use normal lenses (around
35mm or 50mm) to avoid drawing attention to the fact that anything is off.
However, in moments of high tension and anxiety, I will use longer lenses (80mm
and longer) to shorten the space and blur the background to draw attention to
key emotion images (faces, rings, doors).
10. In a bulleted list, articulate two or three potential obstacles to
creating a successful film. How can you be prepared to overcome these? Be
specific!
·
Locations will be a big factor this time. I
want to find an apartment complex with indoor hallways to make the feeling of Mark’s
knowledge more claustrophobic. However, it could be difficult to find one that
will let me shoot in its halls. To overcome this, I have already begun looking,
and I think I might have a location lined up that will let me shoot there. In
case it falls through, however, I will continue looking until I have something
locked.
·
One other factor that will be tricky for me
is directing the actors. I think the acting will be hugely important here, and
I want it to feel meaningful and emotive, rather than contrived. As such, I am
going out of my way to cast actors (early) who I have seen in other productions
and who I believe have the chops for this scene. Additionally, I will read
articles and chapters on directing actors to hone my skills (at least
conceptually) before the time comes for me to direct them.
SHOT LIST
No comments:
Post a Comment