Scene of Suspense: Statement of Intent
NAME: ____________Kent Thalman________________
DATE: __________09/20/16__________________
DP: _________Hannah Harper___________________
FILM 2: THE CHASE OR SUSPENSE SCENE
DIRECTOR’S STATEMENT OF INTENT
This statement of intent is designed to train your mind, eye and heart to shoot purposefully. You should prepare it well before shooting. After reading the assignment on the last page, briefly—but thoughtfully and specifically—answer the following questions.
What is the story--the beginning, middle, and end--of this film in three or four sentences? In other words, what happens in this scene as it starts, as it progresses, and as it ends?
A woman is invited into an office by her bishop. She answers the last question, but no audio is heard, and she is in a daze as she responds. She slowly comes out of the daze, unsure as to what has been said, and the bishop thanks her for her honesty and courage. She isn't aware of what she has said, and protests weakly, but finally realizes that she has confessed the long held secret, and weeps.
What is the backstory of this scene? Why is this happening to these characters? What does each person want? Why do they want it?
Sister Wright has struggled with a meth addiction, and has begun to redirect company money in order to pay for it.She struggles with the demands of motherhood and work, but the drugs help her work up to 20 hour days.Her goal going into this interview is to basically get through it and hold a recommend still, even if that means lying.But the guilt is building, and this isn't the first interview she's lied her way through.The Bishop wants her to tell the truth, and help her through anything necessary.He has discerned pretty clearly that something is up, but can't call her out on it.He is praying that she will come clean so that she can become clean.
Assume that this scene is from a larger story. What is the theme of that larger story?
The Spirit carries us through things that are too hard to do on our own.
What, specifically, must the audience understand to engage in the story? How do you intend to communicate that narrative (not emotional) information?
She is planning to lie in the interview.The audience must know this, and hope that she confesses.I want to show her clearly nervous (jittering, not able to sit still) before the interview.And I want to help the actress convey a certain pride in her answers (a sort of: “of course I don't do ).And the bishop knows something is up, but obviously can't force a confession.He is clearly disappointed after asking some questions that he knows the answers to, but sees that she is lying (thus the audience sees it too).
In mainstream media, some scenes are simply chase scenes or scenes of suspense. However, for the goals of this class, there should be more going on than that. Assuming that this scene is from a larger film, explain the narrative, emotional and thematic purpose of this scene in the larger story:
This is a domestic film about a mother trying to save her struggling family.There are money needs, and family needs, and she feels that “medicine” is the only way to help her meet them all.She becomes addicted and struggles to overcome the addiction, which begins to pull her life apart.We want her to confess and forsake: to seek help.She lies to bishops, family, and friends, all of which has happened up to this point in the film.I imagine this scene being close to if not the midpoint.Things are right on the verge of falling apart.
What emotions do you want the audience to experience as they watch this scene? How do you intend make this happen?
Disappointment at first while she lies.I want them to yell inside themselves: “just say it!”Then relief at the end when she has confessed.
What is the first image of the scene? What is the final image of the scene? Why are you choosing these specific images?
Limited space, the woman sitting in the foyer on a couch backing the wall, wringing her hands. The final image is of her standing in protest to having said anything, then sitting down in tears or regret and relief. That shot is God's POV, slightly above her. I want the first image to feel very closed and claustrophobic. She is trapped by the secret. This will introduce this limited space and frame divides throughout. But the last shot is indicative of the freedom of the truth, using a high angle, wider lens, and deeper space. Feels liberating and almost naked or exposed.
Why is this scene personal to you? (Please don’t answer, “Because I’ve always wanted to make a chase scene!”) What personal experience(s) does this scene remind you of? Ask yourself, “Why do I need to make this scene?”
I haven't had drug addictions, but have talked to my bishop about things that were very hard to me to say.I remember distinctly the interview, just like any other.And I also remember that dazed feeling of almost not knowing what I was saying as I was saying it.My face felt hot, and I looked up and around the room all over, but not at him.That's probably a terribly unique experience, as far as LDS people having had similar conversations with their bishops.But I'd like to explore that scenario, and reveal how I feel about confession as an essential, but probably one of the hardest parts of repentance.
Review the 11 subcomponents of space. What are the overall rules for how you will use space in your film? (For example, will one character exist primarily in flat space while the other exists in deep space?) How will use contrast and affinity within shots and from shot to shot? For each rule, articulate why will you use space in this way. Be specific.
I want to use 50mm lenses and limited/flat space to create a sense of lying. The only time deep space is used is when she is confessing and we can't hear, and then the last shot when she realizes that the truth is finally out. Those deep space shots need to feel like major dramatic spikes, so the depth needs to be intense, using tonal difference, converging lines, color, etc.
What focal lengths will you use? Why?
Oh, I answered that above. Probably a 24mm for the wide and deep stuff. Maybe even a 20mm if that helps make if feel wider. I chose 50mm to make it feel very real, and somewhat tight. If I feel like it's not tight enough, I may go higher, but never wider, because she needs to feel enclosed by everything around her.
In a bulleted list, articulate two or three potential obstacles to creating a successful film. How can you be prepared to overcome these? Be specific!
Tight spaces: I want to get access to an actual bishop's office. (That's may pose a problem right there, but I may be able to pull some strings). But the office will be a tight space to be shooting on a 50mm lens. I'll have to have confidence to move the furniture around if need be, and place the camera as close or far as possible from the subject to make it work. The tightness will also make deep space difficult. I will need to perhaps use apple boxes to make people taller/farther from the ground, or move the characters away from the wall. Or shoot at creative angles to enhance the lines in the shot. This may take some preparation and trial and error.
Acting: This is an emotionally heavy piece, especially for the lead actress. I know that's pretty bold. It could single-handedly take the audience totally out of the piece. I will probably contact actresses that I know personally first, and try the lines out. I'll reach out to as many contacts as possible, and maybe hold auditions. I think that a powerful performance here could make this an exceptional scene.
Audio: I know this assignment isn't about dialogue, and I want to make the visuals tell a subtextual story, so that the audio is mostly inconsequential. Mostly derivative, until the end. But if they are talking, I am going to have to get a sound person and boom mic so that we ensure good quality audio that doesn't distract from the story or visual impact.1
This document will also be accompanied by a shot list. 12 days before your film screens in class: submit a hard copy of this document and the shot list to the professor; upload this document and the shot list to Learning Suite; post this document and the shot list to your blog.
FILM 2: THE CHASE OR SUSPENSE SCENE
Using principles of flat and deep space, plus contrast and affinity discussed in class and in the readings (Block, p.10-12; 14-82, pay close attention to 80-82; it may also be helpful to read chapters 9 and 10), create a 2-3 minute chase scene or scene of suspense that builds in intensity—not only because of the story and action, but also because of the use of contrast and affinity of space. Each shot should be purposeful in its selection and use.
The Chase: Invent a story where one person pursues another. Even if it’s not fully communicated to the audience, it is critical that you understand the reason for this pursuit because you will write about this reason in your Director’s Statement of Intent. Further, you will also use it to inform your framing, communicate with your actors for performance and blocking, make editorial decisions using it, , etc.. Remember that it helps an audience engage more deeply in a story when they understand something about the situation and the characters’ motivations.
Suspense: Invent a story where the audience—not necessarily the characters—experience suspense*. Suspense is most often achieved by the audience learning something that one or more of the characters do not know. (See Hitchcock’s definition of suspense below.) Even if it’s not fully communicated to the audience, it is critical that you understand why the characters are doing what they’re doing because you will write about this reason in your Director’s Statement of Intent. Further, you will also use it to inform your framing, communicate with your actors for performance and blocking, make editorial decisions using it, , etc.. Remember that it helps an audience engage more deeply in a story when they understand something about the situation and the characters’ motivations.
Using the Director’s Statement of Intent, establish the rules of how you will use space and why, and how you will use contrast and affinity to control and build intensity.
Pay attention to geography, screen direction, the 180 degree rule. Make sure to keep the audience oriented as to where characters are in relation to each other, who wants what from whom, etc.
This document will also be accompanied by a shot list. 12 days before your film screens in class: submit a hard copy of this document and the shot list to the professor; upload this document and the shot list to Learning Suite; post this document and the shot list to your blog.
2-3 minutes (without titles)
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