Scripted One Take (Directors Plan for Film 5)

NAME: _Matthew Taggart_

DATE: __March 7^th, 2017_

DP: _Daniel Tu_

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 tv movie titled: Requiem for a Heavyweight, written by Rod Serling.

·         Have you ever watched this film?

No.

·         Do you have the actual script of the film—not a transcript?
Yes.

2.       After reading the entire script, in 3-5 sentences, what is the story of the entire film?

A prize fighter named Mountain has reached the end of his career having just lost his last fight.

He tries to find work in another field with the help of a young woman named Grace, who works

at the career center. Because Mountain’s old trainer and business partner is in dire need of money,

Mountain is torn between helping his friend, at great personal risk to his own health, or following

Grace and trying to build a new future.

3.       After reading the entire script, what is the theme or message of this film?

Everyone needs a purpose in life, and having part of that purpose be helping others is what

separates real men from children.

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

Mountain is seriously considering getting back into the ring for his trainer Maish. He won’t be

boxing, he will be wrestling, a seriously humiliating prospect. As he is about to put aside his

pride and help his friend, he learns that Maish bet against him in their last fight. He runs away from the event, leaving behind Maish to deal with is debtors.

5.       In 3-4 sentences, what is the story—the beginning, middle, and end—of this scene? In other words, what happens as the scene starts, as the action rises, and as it ends?

Mountain, having fled the scene of the wrestling match finds his way to Grace’s apartment. He

feels safe there, though he doesn’t fully know why. While there he pours his heart out to Grace,

and they both realize they are in love. Grace asks for the light to be off, and fearing that it’s due

to his disfigured face, Mountain decides to leave, grateful all the same that Grace didn’t turn him

away.

6.       What specific story details must the audience understand in this scene in order to remain oriented and engaged in it, as well as in the rest of the film? What specific moments/details must you be sure to shoot in order to communicate each piece of information?

The audience must understand that Mountain is a former prizefighter. His speech details a little of

this, but also visually I will include details like scars and bruises on his face and hands, as well as

a generally unkempt appearance. Grace on the other hand will be much more fair and soft. This will be a sort of beauty and the beast dynamic between the two characters. Lighting will also play a part in how the viewer will see each of these characters, as well as their overall physical

appearance and shape in the frame. Mountain will be a much bigger actor compared to the petite

Grace.

7.       What is the narrative and thematic purpose of this scene within the larger story? In other words, how does this scene affect or change the theme of the film?

This is the scene where Mountain faces his demons by exposing himself emotionally to another

person who is equally as sensitive as he is. They may look different outwardly, but inwardly they

are very much alike. This is where Mountain realizes he is in control of his destiny, and it’s up to

him to apply value to what meaning his life has. He decides that he is somebody.

8.       What is the progression of emotions that you want the audience to experience while watching this scene? Why? How, specifically, do you intend to do this? 
I want the audience to feel sorry for Mountain, and then realize that he is a good person despite what his appearance my make someone judge at first glance. I feel like the progression should move from pity, to hope, to admiration with a little sadness that the two characters didn’t get a chance to be together. I plan to have the audience feel this progression by the way the lights will change depending on the location of actor on set, as well as the camera angles shifting from high to low to demonstrate the feelings the characters are experiencing.

9.       What is the first image of the scene? What is the final image of the scene? Describe why you chose each image.

The first image will be of Grace answering the door and seeing Mountain. This first shot will be

evenly lit and we will see everything relatively clearly. The last shot will be basically the same

framing, though this time the light in the room will be dark so that when Mountain leaves, his

face will be dark. I chose this to show how much each of these characters have changed from the

beginning of this scene to the end.

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

The character of Mountain reminds me of people I knew growing up in a small town. They still

sit around talking about how great the glory days of high school are like something from a Bruce

Springsteen song. I’ve worried about falling into that trap as well, and seeing this character take

charge and realize it’s better to move on in life rather than stay stuck in the past is motivating for

me to keep trying. As far as personal experiences, I don’t know that I have one specific memory, but just an overall feeling. I read a Star Trek book when I was a kid that dealt with Captain Kirk having a midlife crisis and wondering if he’d made a difference in his life. For some reason, that book and theme has stuck with me since I was 12. So whenever I’ve done something, I’ve worried if I’d make a difference. I relate to Mountain’s worry that he’s a nobody, not so much in the outward fame and popularity he’s seeking, but in the internal aspect. I really think Mountain is worried he hasn’t made a difference to people, his friends etc rather than success in the boxing ring, and that’s what I connect with. Am I somebody to people I care about? Have I made a difference for them?

11.   How should the lighting feel in this scene? Use the most descriptive language you can. Why? You may include sample image(s). (Not from the actual film!)

I want the lighting on Mountain to more contrast than on Grace. Mountain will be very heavy and

dirty, while Grace will remain clean and pure. However, everything will be clear in the frame at

the beginning. In the end, the light on each character will be different than it was in the beginning.

Grace will be lit from the hallway as Mountain leaves, this will be somewhat harsh, whereas

Mountain with his back to the light will appear in darkness. Even though he’s in darkness, there

won’t be much contrast on his face. I want to show that they have changed dramatically over the

course of this scene.

12.   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.)

When they begin to kiss I want to focus on their shadows being cast on the wall, putting them on

equal ground. This will be accomplished by contrast of tone between the wall and their shadows.

I also want to use space when Mountain is baring his soul by moving in for a close up that will

bring us into his world. When we come out, we will back away so that Grace can come into the

scene and comfort him while reminding the audience that in the grand scheme of things, these

two characters problems are very small.

How will you utilize the principles of contrast and infinity of these components to help build intensity to tell the story more purposefully.

The camera will move to wider shots to cover things when these characters are moving around

setting things up. The camera will move closer when we are getting into their heads. I will also

use the lighting going from harsh vs. smooth, to all shadows, and then back to a reversal of

smooth vs. harsh. I think this will guide the viewer through the personal journey of each character.

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

·         Blocking – I know the location, and I have a good idea in my mind, but I worry it might be the winged witness that is doing the driving now. I plan to overcome this by visiting the location before we shoot and pre-blocking it out to make sure I’m thinking it through correctly.

·         Overall Directing – what I mean by this, is that I know this scene will require a good among of technical prowess to accomplish successfully. In my past projects I feel I might have been too occupied with the technical things and not as worried about the performances of my actors. Similar to my blocking worry, I hope that by rehearsing it in my mind several times, on location by myself, and then with my DP and actors, I will be able to get the movements down well enough so that I can focus more on the actors while we are actually filming.

·         Ability to communicate with my DP to get what I want – I feel like I have done a good job communicating with my DP’s on past projects, but I worry because this is one take, it might be a little harder. I am going to draw up story boards so that Daniel can see what it is I am going for. I want this to be collaborative, but hopefully this starts us off somewhere that’s easier to adapt than just heading in with my shot list.