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Oct. 27th, 2009 08:50 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
chatoyantWoo, I'm done with my zombie movie shooting script!
Unedited nonsense behind cut-
BLACK FRAME
The overhead light flickers once, twice, illuminating a messy bathroom. The COOL COLORS- blues, greens, and violets- in the room pop despite the dim light. The dark values bleed, causing the shadows to stretch out sinisterly and giving the room an ominous cast. The counter is scattered with miscellaneous typical "girl" things- a massive flat iron, multiple boldly pigmented palettes of eyeshadow, bottles of viscous beige foundation. The medicine cabinet hangs ajar over the stained porcelain sink. On the opposite wall, the shower curtain (garishly bright and patterned with various cartoon MOVIE MONSTERS) is thrown to the side carelessly.
From a BIRD'S EYE VIEW, a figure enters.
The figure ambles in sleepily, closing the door gently behind it. It's wearing an loose white shirt and unisex pajama pants- androgynous yet vaguely masculine. It limps toward the sink.
From an OVER THE SHOULDER angle, we see the figure opening the medicine cabinet, revealing dozens of bottles of PRESCRIPTION PILLS.
The camera zooms in and pans over the mini militia of bottles- an army of orange and white soldiers battling for the noble cause of good mental health, all prescribed to WENDAC, DANIEL M.- as the figure's hand seeks out a particular bottle, index finger ghosting over labels.
Finally the hand pauses- the focus sharpens on the label. It simply reads: DAILY SUPPLEMENT in big block letters. In tiny script below the dosage information, a warning: MAY CAUSE EXTREME GASTROINTESTINAL DISCOMFORT. The hand retracts with the bottle.
Again from an OVER THE SHOULDER perspective, the figure shuts the cabinet door and reveals a streaked mirror on the opposite side.
Reflected in the mirror is a grotesque man with a pallid, green-tinged complexion. There are alabaster scars stretching from his temple to the corner of his lip. His skin has a rough, slightly decayed texture, and broken capillaries form a pattern of lakes and rivers running rampant across his cheekbones. His pupils are dilated to differing degrees and his irises are an unnatural, washed out blue. He resembles a post-apocalyptic, Hunky Dory era David Bowie.
The man, Daniel Wendac, pops the cap off of the bottle and shakes out one enormous red pill. We observe his reflection in the mirror as he grimaces and pops it into his mouth. Reaching to retrieve a glass from counter, he fills it with water and in one swift motion, knocks it back. He angles his head to coax the pill down his throat.
The camera cuts to a PROFILE SHOT of Daniel, the BATHROOM DOOR out of focus in the background.
Daniel pulls and prods his face experimentally, narrowing his eyes at his reflection before combing through his dark hair with his fingers. As he styles his fringe, the door opens. The woman slumped in the door frame remains unfocused.
Mrs. Wendac
It's 7:30, I've got to get out of here. Breakfast is on the table. Don't be late again.
The woman, Daniel's mother, vacates the frame, leaving the door open behind her. Daniel's gaze returns to the mirror. He gives one last valiant effort to salvage his hairstyle before turning and exiting the room. As he crosses the threshold, he flips the light off and the screen goes black.
CUT TO:
WIDE SHOT of the kitchen and dining room area, the front door and part of the living room are also visible in the background. The foreground is SHARPLY FOCUSED with a shallow depth of field.
Daniel enters the frame from the left just as his mother exits, the front door snapping shut behind her. On the checkered island in the center of the room is a heaping plate of warm pancakes.
focus sharpens significantly on the front door, causing the foreground to blur.
Daniel gazes from the door to the plate of pancakes in front of him, conflicted.
The FOREGROUND swims back into SHARP FOCUS. Daniel has reached a verdict.
From a LOW ANGLE, we watch as Daniel bends down and scrapes the pancakes into the trash can with a fork. The syrup drips in cobweb-like strings from the plate to the trash.
Cut back to another WIDE SHOT, this time facing the opposite side of the kitchen.
Daniel places the plate in the sink, and then makes for the giant black refrigerator. He opens the hulking behemoth, grabs a package and returns to the counter, laying the package in front of him.
From an OVER THE SHOULDER angle, we see that the mysterious package is raw hamburger meat. The beef is a deep red, in contrast to the cool colors we have seen so far.
A CLOSE UP of Daniel's face reveals timidity and hints of an inward struggle. He is not comfortable consuming the raw meat, but is driven by undead desires that mere pancakes cannot fulfill.
The camera assumes a BIRD'S EYE VIEW as Daniel slowly tears into the cellophane packaging. He peels back the plastic with restraint, like a Christmas present wrapped in expensive paper that he intends on saving. When the meat is free, he regards it almost reverently, slowly sinking his fingers into the mound of scarlet beef.
Lifting a handful of the meat to his lips, he glances back to the door one last time.
The camera switches to an OVER THE SHOULDER ANGLE. We can see a quarter of Daniel's face as he gazes at the door in the background, and the lump of dead cow he is unconsciously clutching in his palm. The moment of indecision passes, however, and Daniel consumes the raw meat ravenously, lapsing back into the true nature that he has taken great pains to suppress.
Unedited nonsense behind cut-
BLACK FRAME
The overhead light flickers once, twice, illuminating a messy bathroom. The COOL COLORS- blues, greens, and violets- in the room pop despite the dim light. The dark values bleed, causing the shadows to stretch out sinisterly and giving the room an ominous cast. The counter is scattered with miscellaneous typical "girl" things- a massive flat iron, multiple boldly pigmented palettes of eyeshadow, bottles of viscous beige foundation. The medicine cabinet hangs ajar over the stained porcelain sink. On the opposite wall, the shower curtain (garishly bright and patterned with various cartoon MOVIE MONSTERS) is thrown to the side carelessly.
From a BIRD'S EYE VIEW, a figure enters.
The figure ambles in sleepily, closing the door gently behind it. It's wearing an loose white shirt and unisex pajama pants- androgynous yet vaguely masculine. It limps toward the sink.
From an OVER THE SHOULDER angle, we see the figure opening the medicine cabinet, revealing dozens of bottles of PRESCRIPTION PILLS.
The camera zooms in and pans over the mini militia of bottles- an army of orange and white soldiers battling for the noble cause of good mental health, all prescribed to WENDAC, DANIEL M.- as the figure's hand seeks out a particular bottle, index finger ghosting over labels.
Finally the hand pauses- the focus sharpens on the label. It simply reads: DAILY SUPPLEMENT in big block letters. In tiny script below the dosage information, a warning: MAY CAUSE EXTREME GASTROINTESTINAL DISCOMFORT. The hand retracts with the bottle.
Again from an OVER THE SHOULDER perspective, the figure shuts the cabinet door and reveals a streaked mirror on the opposite side.
Reflected in the mirror is a grotesque man with a pallid, green-tinged complexion. There are alabaster scars stretching from his temple to the corner of his lip. His skin has a rough, slightly decayed texture, and broken capillaries form a pattern of lakes and rivers running rampant across his cheekbones. His pupils are dilated to differing degrees and his irises are an unnatural, washed out blue. He resembles a post-apocalyptic, Hunky Dory era David Bowie.
The man, Daniel Wendac, pops the cap off of the bottle and shakes out one enormous red pill. We observe his reflection in the mirror as he grimaces and pops it into his mouth. Reaching to retrieve a glass from counter, he fills it with water and in one swift motion, knocks it back. He angles his head to coax the pill down his throat.
The camera cuts to a PROFILE SHOT of Daniel, the BATHROOM DOOR out of focus in the background.
Daniel pulls and prods his face experimentally, narrowing his eyes at his reflection before combing through his dark hair with his fingers. As he styles his fringe, the door opens. The woman slumped in the door frame remains unfocused.
Mrs. Wendac
It's 7:30, I've got to get out of here. Breakfast is on the table. Don't be late again.
The woman, Daniel's mother, vacates the frame, leaving the door open behind her. Daniel's gaze returns to the mirror. He gives one last valiant effort to salvage his hairstyle before turning and exiting the room. As he crosses the threshold, he flips the light off and the screen goes black.
CUT TO:
WIDE SHOT of the kitchen and dining room area, the front door and part of the living room are also visible in the background. The foreground is SHARPLY FOCUSED with a shallow depth of field.
Daniel enters the frame from the left just as his mother exits, the front door snapping shut behind her. On the checkered island in the center of the room is a heaping plate of warm pancakes.
focus sharpens significantly on the front door, causing the foreground to blur.
Daniel gazes from the door to the plate of pancakes in front of him, conflicted.
The FOREGROUND swims back into SHARP FOCUS. Daniel has reached a verdict.
From a LOW ANGLE, we watch as Daniel bends down and scrapes the pancakes into the trash can with a fork. The syrup drips in cobweb-like strings from the plate to the trash.
Cut back to another WIDE SHOT, this time facing the opposite side of the kitchen.
Daniel places the plate in the sink, and then makes for the giant black refrigerator. He opens the hulking behemoth, grabs a package and returns to the counter, laying the package in front of him.
From an OVER THE SHOULDER angle, we see that the mysterious package is raw hamburger meat. The beef is a deep red, in contrast to the cool colors we have seen so far.
A CLOSE UP of Daniel's face reveals timidity and hints of an inward struggle. He is not comfortable consuming the raw meat, but is driven by undead desires that mere pancakes cannot fulfill.
The camera assumes a BIRD'S EYE VIEW as Daniel slowly tears into the cellophane packaging. He peels back the plastic with restraint, like a Christmas present wrapped in expensive paper that he intends on saving. When the meat is free, he regards it almost reverently, slowly sinking his fingers into the mound of scarlet beef.
Lifting a handful of the meat to his lips, he glances back to the door one last time.
The camera switches to an OVER THE SHOULDER ANGLE. We can see a quarter of Daniel's face as he gazes at the door in the background, and the lump of dead cow he is unconsciously clutching in his palm. The moment of indecision passes, however, and Daniel consumes the raw meat ravenously, lapsing back into the true nature that he has taken great pains to suppress.