We've Met Before - Shot List Thea Green

Transcription

1 This is a very long opening shot that establishes the scene through a series of camera hand- offs (sort of like a simpler version of this Boogie Nights opening for example: (hgps:// We start on a canted shot of rain pounding on a sidewalk, MCU. A pair of red high heels pass the frame. We Wlt up to see a woman move through the diner doors and follow behind her. Once she sits down with her friend, the camera HANDS OFF to BeGy, a waitress, in a COWBOY shot, holding a cup of coffee. The camera Wlts down as BeGy sets the coffee on the table, and as her body passes, we HAND OFF to ALICE'S This covers the opening setup - "Thank 1 Varies throughout shot Tilt and track FEET swinging from the diner stool. In the same shot, the camera Wlts up, passes Alice drawing something on a napkin, then turns into an OVER THE SHOULDER. BeGy walks into shot, and their dialogue begins. This framing stays useful as the OTS for this scene. you sweetheart." The OTS we land on stays good for this dialogue, though BeGy does move in and out of the frame in the middle part of the coversawon. 2 MCU Lockoff Internal reverse on BeGy. She walks in and out of this shot when she goes to get napkins to clean the spill. "Oh no" - "Thank you, sweetheart" 3 Medium shot Tracks le` and then right In this shot, a`er BeGy spills the coffee and Alice tosses a napkin down, BeGy moves across the counter to the le` past a patron to grab more napkins and back right, landing back in the established OTS. "Sorry hun" - "don't worry about it" 4 Medium shot Lockoff, external reverse This shot is a lockoff on Alice over BeGy's shoulder. We can see Alice drawing something, but BeGy's shoulder is obstrucwng us from seeing exactly what it is. BeGy moves back into this shot during Alice's 'don't worry about it' line. "Hey, don't worry about it" - "Thank you, sweetheart" 5 MCU Lockoff, internal reverse Alice at the center of the frame, decorawve diner stuff and patrons behind her. We catch a ligle bit of the diner counter in this one, but it's swll a pregy close shot. "Oh no" - "Thank you, sweetheart" 6 MCU, overhead Lockoff We're overhead flat on the coffee cup as BeGy pours in and it spills over the edge. 7 Macro CU Lockoff Coffee soaking into the white napkin 8 CU Lockoff Extreme shallow DOF shot of a pen in focus and Alice's napkin drawing out of focus. 9 Two shot, wide Lockoff This is a two shot on Alice and BeGy. Behind them, we can see a few patrons on counter stools in a row behind Alice to create depth. Opening - "Thank you, sweetheart" 1

2 10 MCU into Wide Whip pan, track Camera whip pans when the door dings to reveal Jasper. As Jasper selects a booth, the camera tracks with him and pulls back into a wider shot to show the space between Jasper and Alice. Alice walks into this wide shot up to Jasper. 11 CU Lockoff Close on the doorbell jingling as Jasper walks in. 12 Wide Lockoff 13 Wide Pan 14 MCU, OTS, slight angle up on Alice Slight movement, handheld 15 MCU OTS on Jasper Slight movement, handheld 16 POV 17 Wide Lockoff 18 MCU shot Lockoff 19 Wide two shot Lockoff Camera bounces around to different patrons, ending on Alice in foreground This wide shot on Alice matches the previous track shot of Jasper sieng at the booth in terms of composiwon, only it's a lock- off. We get a real sense of depth here and the space between them. Here, we see her put the napkin drawing in her pocket and hop off the diner stool. A shot from the bogom of the stool POV that moves with Alice as she turns around and gets up. Her feet are in the foreground, and we hold on this shot as she gets up and walks away. We keep a ligle movement to establish the nerves between them and a slight angle up to show Alice has a bit of the upper hand here. This shot catches Jasper's face and hat on the side moreso than his shoulder. Keep a ligle movement to establish the nerves. Though Jasper is sieng, we keep the angle at eye level so it doesn't feel to her like she has the upper hand. From Jasper's POV, we dart around the diner to show various patrons, then pull focus to Alice in the foreground. On "I am that," they meet eyes in the POV shot. Then, through Jasper's POV, he quickly looks down. Camera sits outside the diner window in the rain, looking in on Alice and Jasper. As the lightning strikes, they turn to look at it in unison as a bright flash appears. This shows the empty diner seat across from Jasper that Alice is referencing. Also get her sieng into this shot for the transiwon, stays useful as the internal reverse for the remainder of the short. In this shot, we see Alice and Jasper at their booth with some of the diner patrons in the foreground. Jasper entering and Alice walking up to him. Jasper entering and Alice walking up to him. Alice walking up to Jasper, no dialogue Alice walking up to Jasper- Alice sieng across from him. Alice walking up to Jasper- sieng down across from him. Jasper looking around at the humans - "I am that" "Front row seat" - "You can make lightning?" and Internal reverse on Alice, same setup. Alice sieng down - Alice and Jasper geeng up. We linger on the empty seat for a second a`er Alice leaves frame at the very end. Alice sieng down at the booth - Alice and Jasper geeng out of the booth at the end 2

3 Shows just Alice and Jasper in a two shot, but we can see Alice sieng down at booth - Alice and 20 Medium two shot Lockoff their enwre booth and some movement in front of it. Jasper geeng out at end 21 Close two shot Lockoff Here we get Alice and Jasper in a two shot, but we're only seeing part of the booth - it's much more inwmate - restaurant traffic won't move in and out of this shot Alice sieng down at booth - Alice and Jasper geeng out at the end. Camera tracks back as BeGy walks forward, carrying Alice's coffee. Cheat so track conwnues through table, catching Alice and Jasper's shoulder in it for a nice three shot. Also use this for BeGy walking away and when she almost trips. "How" - BeGy seeng the coffee down. We use this again for "Almost dropped it again" - "How did you do that?" 22 MCU Tracking shot Closer shot on BeGy for moment where she brings Alice's 23 MCU Lockoff coffee over. "How" - "Name tag" Alice sieng down at booth - Alice and 24 MCU shot Lockoff Matches Alice's internal reverse on Jasper. Jasper geeng out at the end. OTS onto Jasper, catching some diner acwon in the Alice sieng down at booth - Alice and 25 Medium shot, OTS Lockoff background for depth. Jasper geeng up at the end OTS onto Alice, catching some diner acwon in the Alice sieng down at booth - Alice and 26 Medium shot, OTS Lockoff background for depth. Jasper geeng up at the end. 27 CU Lockoff This is a closeup on the nametag 'BeGy.' Shot of Alice and Jasper's feet playing around nervously 28 Medium Lockoff under the table. Shot follows Alice's hand as she picks up the menu and "The descripwons" - "Very homegrown 29 MCU LiGle pan, ligle Wlt holds it in front of her. Jasper then takes it out of her hand. that one" Punch in on 'strawberry shake' liswng on menu. Deliberate. "Every restaurant has its own sort of 30 CU Lockoff, jump insert Think 'Wes Anderson text effect.' style" - "won't want to share" Starts on BeGy as she passes with shake, then the camera moves in closer and Wlts down in a jolt to focus on the shake moving on the tray, wobbly. The camera Wlts a second Wme in a jolt to BeGy's red heels as she starts to trip. Very deliberate feeling double Wlt - stops and lands on its subject BeGy passing with shake - "Not what I 31 Medium into MCU Tilt down each Wme. would've pictured" Camera moves with Alice's hand as she takes Jasper's hand, 32 MCU Slight movement then moves handheld back as they drop hands. "Palm readings" - They drop hands 33 CU Lockoff Direct overhead on hands. 3

4 We get a shot of Jasper and Alice talking and BeGy entering the frame (her back is to us). BeGy turns and walks towards the counter, and the camera tracks back. In this shot, we can swll see Alice and Jasper in the background and are really focusing in on 'the food' for a moment. (Maybe bit of Dropping their hands - "There's food 34 Wide to Medium Track slow- mo). everywhere" This is the POV from the coffee cup as Alice looks down into "So there's, you know, not a lot here for 35 POV Lockoff it. me in a diner" Gradually build into more Jasper's POV onto Alice to create an inwmate moment before we break into the vision she has of him biwng BeGy. This moves into a ping pong effect, swll in his POV, on the movement as Jasper gets humans in the diner as he starts to get hungry. Camera gets "I'm having a really great Wme with 36 MCU hungry more and more movement to it as tension builds. you" - "support system" 37 MCU Lockoff Alice's POV onto Jasper to create an inwmate moment before we break into the biwng of BeGy. "I'm having a really great Wme with you" - "support system" 38 Wide Lockoff, very low to ground In this shot, we can see Alice and Jasper in the background. Right in front of the lens, the plate with food on it drops and crashes. (Maybe slow- mo, play with shuger speed here). "It's not as hard as it seems" - "good support system" 39 Medium Lockoff, overhead BeGy's heel falls off next to the plate. She's fallen. Hold on this shot. It's not as hard as it seems - "good support system" 40 CU Lockoff, low angle, slightly angled down. CU on BeGy's hand, cut from the plate. Plate is in shot at bogom of frame blurred out with narrow DOF, red drips onto plate. 41 MCU Track back to whip pan Camera starts low to ground, revealing the enwre scene with BeGy and the diner patrons around her, gets wider as it pulls back, and at the end of the track, diner whip pans in a disorienwng way at the same Wme Alice and Jasper whip their faces toward the camera for a jarring effect. Alice and Jasper's reacwon to BeGy falling. 42 CU Lockoff Jasper's eyes changing color. 43 Wide to Medium Tilt and track As Jasper gets up, the camera Wlts underneath him on the track to make him look sinister with Alice swll in frame. As he walks towards the camera and we track back, we see Alice let go of his hand, she comes out of frame, and the frightened diner patrons react. We conwnue to track unwl we can see BeGy's back and the scene in front of her. Silky smooth track in contrast with turbulent reacwon shots to show how Jasper is feeling vs. his prey. "Jasper" - when he's about to bite 4

5 44 MCUs Handheld Get turbulent handheld shots of diner patrons reacwng. 45 MCU on BeGy Quick push BeGy screams and Jasper comes into the frame to bite her. Alice and Jasper's hands separawng from the floor POV 46 CU Floor POV 47 Wide, alternate opwon Very low to ground wide shot (showing their world literally turned upside down). Also try geeng a lockoff very low wide shot, kind of like the ones featured in the movie Prisoners. In this shot, We would see BeGy in frame and Jasper walking towards her. He comes out of camera for a bit, then leans into bite, geeng in the foreground of the lens, jolwng the viewer. Super long shot. AcWon where Jasper tries to bite BeGy AcWon where Jasper gets up to bite BeGy 48 MCU on Alice Handheld Alice reacts to Jasper geeng up to bite BeGy. We start in a shot of Alice and Jasper framed so we can see BeGy fall in the background and hear a plate shager. Alice pulls Jasper across the diner table for a kiss and we begin a 360 turn, slow. When we come back around, several other couples are kissing in the background and BeGy is walking 49 Wide shot 360 degree shot away, having cleaned up the mess. Alice and Jasper kiss Show the same diner patrons we showed in fear now 50 Medium shots Lockoff kissing through inserts. on a blank part of the table and a hand seeng money 51 CU Lockoff on it. We're from the POV of the diner booth, where Alice was sieng, as they get up and walk away. This is an incredibly long, beauwful wide shot where she puts her head on his shoulder, and the POV also shows that we're seeing this whole thing through Alice's perspecwve - literally. Near the end of this shot, BeGy's hand starts to clean the table, 52 Wide Diner booth POV highlighwng the cut on her hand. "Coffee's cold by now" - walking out of the diner 53 MCU Slight movement, POV Alice's POV as her eyes blink open from the vision. BeGy passes frame. Alice jolts out of her vision. 54 Medium shot Lockoff On Alice as she grins, she does an excited ligle dance at the counter. An old man eawng a waffle breakfast next to her turns to give her a 'kids these days' look for a comedic moment. Alice jolts out of her vision. 55 Wide shot, compressed space Lockoff Alice turns to see Jasper in the door. We use a telephoto lens to now compress the space between them. Alice turning to see Jasper at the door - end 56 CU Lockoff Alice's smile as Jasper comes in through the door. End moment 5

6 A`er the two shot of Jasper at the door and Alice looking at him, we cut to what starts as a wide shot of Alice and track in on her smile, passing over her shoulder and ending on 57 Wide that goes to CU Tracking the napkin drawing of the two of them. End moment, alt. 58 Overhead shot, CU Lockoff Grab several shots on different napkins of the actors and crew hand drawn out for credit sequence. Credits 6