Film Five: Statement of Intent, Shot List, Lined Script

FILM 5: SCRIPTED ONE TAKE
DIRECTOR’S STATEMENT OF INTENT

This statement of intent is designed to train your mind, eye and heart to shoot purposefully. Prepare it well before shooting. Briefly—but thoughtfully and specifically—answer the following questions.

1.     What film or TV show is this from?

a.     After reading the script, in 3 sentences, what is the story of the entire film?

Harry and Sally are two seemingly different people who meet a couple times before their thirties and have some chemistry, but tension. They disagree on whether or not a man and a woman can be “just friends,” and thus do not become friends at first, and do not date. However, once they are older, they become very close friends in a very intimate way, which slowly leads to them falling in love with one another.

b.     After reading the script, what is the theme of this film?

The theme of this film is that maybe it is true that men and women (who are attracted to each other) can be friends, and that those kinds of intimate friendships can lead to a very intimate romantic relationship where the two people honestly love each other for who they are rather than for superficial reasons.

2.     Do you have the actual script of the film (not a transcript)?

Yeah.

3.     In 3-5 sentences, what happened in the story immediately before this scene?

Nothing. There is a brief scene of documentary footage to set the tone of the film (and to allow the end of the film to be connected to reality and to the earlier parts of the film), but this is the second scene, and the first scripted scene. We learn all we need to in the scene and those that follow it—who Harry and Sally are, how they feel about each other, and why they’re traveling together.

4.     In three or four sentences, what is the story—the beginning, middle, and end—of this scene? In other words, what happens as the scene starts, as it progresses, and as it ends?

Harry makes out with his girlfriend, Amanda, who he is really into, when Sally pulls up, prepared to drive with Harry to New York. He doesn’t notice that she is there until she honks the horn, at which point he loads his stuff in the car, gets in, and drives away, saying bye to Amanda who he is leaving.

5.     What, specifically, must the audience understand narratively/plot-wise in order to engage in this scene? How will you communicate each piece of information?

They must understand that Harry has left with Sally, although they do not yet need to know why. They must understand that there really is not yet chemistry between the two of them, and that Harry feels more attached to Amanda at this point in time (but that that could very quickly change). They must understand that Harry might be a bit of a player in that he cares very much about the physical side of a relationship in this point in time, possibly more so than other parts.

6.     What is the narrative and thematic purpose of this scene within the larger story?

This is the beginning of the film—when Harry and Sally actually meet. They do not hit it off at all in this scene, and although there is chemistry between them shortly after, they take a long time to learn about their feelings and become friends. By learning a bit about how Harry and Sally feel about relationships and sex in this scene, we are able to thematically understand why their friendship and following sexual/romantic relationship is so important (ten years down the road).

7.     What emotion do you want the audience to experience while watching this scene? Why? How, specifically, do you intend to do this?  

I mainly want this scene to be comedic, so I want to communicate humor and happiness. I also want to communicate a bit of tension between Amanda and Sally to create a feeling of suspense. I want to do this because I think that’s what the purpose of the scene is in the script. It’s funny and awkward and familiar. This will help the audience engage with the characters and want to get to know them more by continuing to watch the film. I want to do this by landing on, and structuring camera movement around, comedic beats. For instance, I will briefly stop moving the camera when Harry and Amanda pull apart to say “I love you,” then continue to move immediately after this. I will also use high-key lighting to focus on the performances, rather than on any intellectual expectations from the audience.

8.     What is the first image of the scene? What is the final image of the scene? Why do you think the director chose these specific images?

The first image is a close up of Harry and Amanda making out. The final image is of Amanda’s face as the other two drive away. I think the writer chose the first image because it characterizes Harry, and it makes it funny (because of the title of the movie) that Sally meets Harry when he is kissing another girl. The final image is not necessarily something anyone other than me chose, but I chose it because it is an interesting way to help the audience really key in on Harry and Sally and the sparks that are slowly but surely going to build between them. By turning to Amanda, we’re reminded “Hey, this relationship with Amanda probably won’t last with Harry.” It’s also a bit sad and a bit funny to see her one last time, and to focus on her emotional reaction to the scene, when, after this, we’ll never see her again.

9.     Why is this scene personal to you? What specific personal experience(s) does it remind you of?

I have had several times in my life when I’ve met someone and I didn’t expect it to be a big deal, but a little down the road it turned out that we were very close friends. I think this is a very interesting feeling, and one that’s important. It seems valuable to me to look at the events and feelings that lead up to those feelings of friendship and intimacy. I am also somewhat familiar (though less so) with the feeling of sending someone I care about off with someone I don’t necessarily care for as much, worried that my friend will become closer with the other person. The tensions in this scene are familiar to me, but I think they are things that are worth recreating and examining.

10.  Which two specific visual elements—line, shape, space, tone, color, rhythm, movement—do you intend to use to purposefully communicate the emotion of the scene? (You will be graded on your execution of this plan)

Movement will be crucial as this will be a one-take. I will use movement to frame what is important in ways that help to communicate relationships and wants. For instance, while Harry and Amanda are making out at the beginning, I plan to frame Sally in a way that we can still see them, but are able to see her expression of annoyance and impatience.

I will also use space. I hope for most of the scene to have somewhat flat space to imply how things currently are. Then, finally, when Harry and Sally leave, I will have a beat of the car heading into deep space, followed by a beat of Amanda in deep space, to show that there is now potential energy and that things could change, and that they are about to.

11.  In a bulleted list, describe three potential obstacles you may face in creating a successful scene. Describe how can you be prepared to overcome these? Be specific!

One is the light. We will be shooting outside, and it will likely be sunny, which will give us enough light, but it might be too much, causing shadows or actors to squint unattractively. I hope to overcome this by preparing a lighting setup to block/diffuse some daylight as we are shooting. This may involve recruiting a couple people to help out as crew.

Another obstacle is how much kissing the two actors will have to do. Although it is acting, they could get somewhat emotionally worn out from doing it so much all in a row, for long takes where they can’t really rest in the middle. I plan to overcome this by making sure the actors know the content of the scene and the process that will go into filming a one-take before I cast them. I will discuss with them what will be involved, and make sure they are sure they are comfortable with doing it before I settle on them for my cast.

Lastly, it could be difficult to shoot in the street for so long without getting interrupted by traffic. I hope to overcome this by finding a location with low enough traffic that we will be able to film for a couple of minute with the DP standing in the street and nothing going wrong.