Coursework: Pre-Production

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 Coursework: Pre-Production

 1) Script: (draft)

Locations: 

  • An exterior of a dark, gloomy wood. It is dimly lit and there may be few flickering street lamps in the background that provide a faint glow of light. 
  • A dimly lit, blurry interior of a room in an unspecified building. 
Ext. abandoned wood in which the protagonist is running. Their movements are urgent, and their breath comes out in short, sharp breaths - desperately. While they run, the clip demonstrates a variety of angles that set the pace to be sharp and fast. During their running, there will be flashbacks in forms of memories that the protagonist has. They feature a second character - the foil (a character whose personality clashes with the protagonist's) - who is in a dimly lit room with the protagonist. 

Continuously, flashes of their last conversation will resurface in between clips of the protagonist, who is running away from this setting and towards something else. The memories will feature a tense conversation between the first and second character. The protagonist and the foil will be stood, pacing around the room. The protagonist will at first be trying to convince the foil to do something (to help them, though this will not be immediately revealed to the audience) while the foil is in clear opposition of their suggestion. They speak about the current situation of the country (a dictatorship, while the country's people fall apart), a previous connection between both characters, and a previous action that the foil has done which has aptly changed their previous closeness. 

The conversation will be structured as such:

Opens up with PROTAGONIST running. Their breaths are shallow and uneven, and their movements are frantic and desperate. 

Flashes of PROTAGONIST and FOIL's conversation will resurface in between clips of PROTAGONIST, running.

Cut to PROTAGONIST and FOIL standing opposite each other. FOIL is staring at PROTAGONIST with their hands clasped behind their back. However, FOIL's exterior has flattened and they look defeated. 

In contrast, PROTAGONIST has their arms crossed over their body and is staring at the ground. They rock gently on their feet, as though restless. 

Finally, PROTAGONIST looks up and locks eyes with FOIL. They stare at one another for a moment before PROTAGONIST speaks. 

PROTAGONIST

I figured I could talk to you about things like this. Being here now, though...

FOIL

You regret it all now, maybe

PROTAGONIST bites their lip as though holding back from something. FOIL sighs, shaking their head softly.

Regret is a constant ringing, you know. Like the infinite echoing of Church bells, or a grandfather clock. 

PROTAGONIST says nothing for a moment. FOIL watches PROTAGONIST before letting the last of their strong appearance deflate. 

FOIL

It - I know, I know what is - never ends, once you know it's there. Don't you think that's ironic? It's supposed to be a state of nothingness - a blank slate, maybe - but it exists as a kind of haunting echo of what could have been. That's all it's ever been for me. (quiter) Is it like that for you, too?

PROTAGONIST

You know it is for me. But I didn't come here to talk to you about regret.

FOIL 

(smiling wryly)

No, I didn't expect that you had

PROTAGONIST

Fifty-three thousand people since August. It's only December. That's... what, thirteen-thousand people a month? A thousand a week?

FOIL

Not exactly

PROTAGONIST

Of course you'd know all about that, wouldn't you?

FOIL turns white and swallows, biting their lip. They never look away from PROTAGONIST, holding their gaze carefully. 

FOIl

I wish I could explain just how drastically this has changed, and how much it affects me, too

PROTAGONIST

Oh, I'm sure! How terrible of a life you've had! What tragedy you've experienced, how soulless everyone else has been to you!

FOIL

I've been doing the best I can! I've been trying!

FOIL reaches forward for PROTAGONIST, looking desperate as their face contorts with misery. PROTAGONIST backs away, stumbling into the wall behind them. A few moments later, they snap their head up to look at FOIL.

FOIL

Wait, please, let me explain

PROTAGONIST

Don't... Don't. Get away, get OUT.

FOIL doesn't move. Instead, they look rooted in place, rigidly standing.

PROTAGONIST

(hissing)

You're bloody spineless.

PROTAGONIST exits as FOIL sinks to the ground, wounded by some uncertain force.


2) Shot List

Examples of shots are as follows:

  • An establishing shot of the scenery - focusing on any displays of movement in the distance
  • A wide shot of the pathway that the protagonist will be running on to demonstrate a build-up of action 
  • A close up shot of the protagonist, who is frantically running
  • A medium shot from behind the protagonist as they run
  • A low shot of the protagonist's feet as they run
  • A high angle shot of the protagonist (running)
  • A shot from the side of the protagonist
  • A shot from behind of the protagonist
  • An over the shoulder shot of the protagonist
  • A wide shot of the room that the characters are in 
  • A close up of an object
  • A medium shot of the foil
  • A medium close up of the protagonist
A repetition of these shots as the narrative continues will take place.

3) Costume: Both will be wearing muted colours, but will contrast one another in order to create binary opposition. However, the foil will be wearing light colours, and the protagonist will be wearing dark colours. This should be done so that the typical hero / villain trope will not be reinforced.

Lighting / time of day: It should take place in the late afternoon, with a darker section for the characters as they speak. The protagonist's running should take place in a lighter situation to represent the clarity they are going towards.

Actors - casting, placement, movement: There should be two characters who should at least have one being female. Their placement at the beginning should be closer to show that they have at least some history. Then, they should distance themselves in the middle of the conversation. Towards the end, the foil should attempt to gain some closeness to the protagonist, but this should be when they finally distance themselves the greatest of all the moments.

Props: There should be no props to represent the kind of disconnect that the protagonist feels in the situation.

Setting: A closed room and an exterior of a dark, gloomy, forest-like area.

4) On the weekends or during the half-term would be best. This would give us appropriate time to get everything done properly. Additionally, it would help to get everything planned during the week so that the most amount of preparation can be done.

Location: 522A Lady Margaret Rd, Southall UB1 2NP, UK

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