Wednesday, April 1, 2009

Shooting Script for "Base-Communicate"

Shot #01: ECU-Zoom in/Dissolve

A number 5 is set within a shape-oriented design. Zoom into the center of the 5, and dissolve

Shot #02: MS; low- Pan down/Tracking

Narration: I used to think that new area codes equaled new existences…

A clock radio is positioned on an elevated surface. It’s time face says “516.” A hand appears from outside of the frame, pushes a button on the radio, changing the numbers first to “617,” then to “828.” All three number sequences are representations of United States area codes. Sheets of paper fall downward from the top of the frame. The camera follows this motion.

Shot #03: MCU- Pan down/Tracking

The sheets of paper continue to fall. The radio is no longer in the shot.

Shot #04: CU-Dissolve

Narration: …but everyone still has my contact information. There are no new highways when they all have rest stops.

Focus on a single piece of paper, which has fallen to the ground. A hand holding a rubber stamp reaches in, and contacts the sheet of paper. It leaves the frame, and the paper is left with a mark on it. Three rows of symbols of street signs appear, forming one-by-one in a horizontal direction.

Shot #05: ECU; Animated Transition

Narration: When everyone you know is just a thumbnail representation of…

The three horizontal rows of street signs are replaced with three horizontal stripes, alternating black-white-black. They leave the screen in opposing directions.

Shot #06: CU; x/lo

Narration: …every gesture you’ve ever made; every lie you’ve been told; every secret you’ve kept…

Open with a cracked sidewalk. A woman walks down the street, and we see only her shoes and ankles. Three words appear as she walks: gesture, lie and secret.

*Note: This whole shot is executed utilizing pixelation

Shot #07: CU

Narration: (continued) every secret you’ve kept…

The word “secret” is left alone on the otherwise blank surface. It shrinks, until it is only a line, which then travels across the screen, transforming into the contour of a male figure.

Shot #08: CU; eye level-zoom in

Narration: …every sad, lanky bartender, who wanted to run away with you in an air-conditioned car.

We see only the man’s face. Camera zooms in to his left eye.

Shot #09: ECU

Narration: We’ll laugh at nothing, and use the bathrooms in under-stocked, dirty gas stations.

The man’s eye is the only aspect in view. Lines shoot from out of and around the contours, creating a map. A car rides over the lines, as symbols for United States Interstates appear.

Shot #10: CU

Narration: Admire the crackle of burning cigarettes in the dry Texas air.

A fire appears as the road map fades. A hand holding a cigarette comes into frame. The cigarette is lit, and smoke appears. The hand moves out of frame.

Shot #11: MS-Animated Transition

Narration: No one will find us; no one will care-except for the debt collectors. They always have a friend’s phone number in case you conveniently disappear.

The fire fades, leaving only a smoke trail, which creates the form of a man and woman embracing. A wad of paper drops from off screen, and the woman opens her hand to catch it. She tosses it to the side. As it bounces off the side of the frame, it leaves a solid sheet which covers the screen.

Shot #12: CU-Animated Transition

Narration: (cont.) –except for the debt collectors. They always have a friend’s phone number in case you conveniently disappear.

Upon the solid-colored screen appears the image of Benjamin Franklin on the one hundred dollar bill. He blinks. The bill peels from the corner, covering his image, and leaving a solid-colored screen.

Shot #13: LS-Fade-out

Narration: He still lives in that city. I wonder if he’s still sad. He’d probably be much less attractive if he isn’t.

Lines form on the screen, creating a cityscape. They merge into one another, leaving only a single line, which shrinks to the ground.

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