how do you know if you should cut a scene for time or not
I can get Bloodsucking Books Part 1 down to an even twenty minutes if I cut it, and the scene I want to cut...it's not vital to the story but I think it adds a lot of character depth
anyone have any ideas, or should I just show you dudes the fine cut and tell you the scene after?
If I've ever thought anything was too long, I try to get a few friends to watch it with me. While doing so I try to pay attention to their body movements, where their eyes fall, if they seem bored, etc. If I see that a scene has a lot of people sort of looking around or shifting, maybe that one went on a little too long.
I got a question for you guys, what do you do when you hate a movie you are working on? Not like doing grip work (no offense) or something where it doesn't totally feel like your movie, but part of the creative process behind the film you are currently hating.
I just did a 50hr film fest, and we won, and we ended up doing a radio interview for it, and this is for a film I referred to as "the tampon commercial" the entire time of shooting. Cause that is pretty much what it was. I wrote it, and honestly, I wrote TWO different scripts because I hated the one they wanted so much. And thats a lot of writing for a 50 hour.
Now I just found out another film I acted in just got accepted into the Raindance Film Fest in London. The film is about 14 minutes long, and I have no idea what it is even trying to be about. Am I being a dick/snob? Or maybe just an idiot who doesn't get it. The second film takes place entirely in a car, and all we talk about is Cheers the show, and porn. Someone help me feel slightly proud that this is getting into things, cause right now I'm having a hard time being satisfied.
Any suggestion?
Take the victory and network?
You can still have your personal considerations regarding projects/productions but if you can use a positive reward from the experience do it.
Eh?
+1
Options
Quoththe RavenMiami, FL FOR REALRegistered Userregular
A short film my husband worked on is playing in LA tonight, if anyone is bored and in the area
I have 7 days to write a feature film for some producers in Shanghai. 7 Days to learn about Chinese culture, write a film taking place inside said culture, and then hope when some guy I don't know translates it, it doesn't come out trashier than how I had written it. If it works, I will have sold a script, and be paid very handsomely. If not, well here we are. And here we go....
+3
Options
Quoththe RavenMiami, FL FOR REALRegistered Userregular
I have 7 days to write a feature film for some producers in Shanghai. 7 Days to learn about Chinese culture, write a film taking place inside said culture, and then hope when some guy I don't know translates it, it doesn't come out trashier than how I had written it. If it works, I will have sold a script, and be paid very handsomely. If not, well here we are. And here we go....
It's a race car movie. I'm sure there is a more apt term for that, but not when you don't know anything any racing cars. I think it's gonna come down to whether or not they need me to write out the races bit by bit or not. Anyone happen to know where you can get scripts for films? I might pick up a copy for Speed Racer or some other crap race film just to see how they write out racing play by play. Days of Thunder would be nice. It was a more innocent time then. For all those terrible nitwits involved.
I don't have time for this argument man, I saw it once on a plane to Chicago, right after my fiance left me for a meth dealer. You win, it could be the best movie ever. But not to me.
So my intern put together this script that we shot several months back, and now she's hoping to use the trailer for the full piece for some class she has now in college (they grow up so fast!).
Problem is, we were super rushed on production time due to circumstances beyond our control, and I keep finding more and more things wrong with the trailer. It would be super awesome if someone completely not involved could take a look at it and let me know if I'm just being overprotective of her work, what really does need fixing, etc.
For a film about a bunch of super-powered people fighting over a briefcase, I would have liked to see more fighting over the briefcase. Do you have any shots where you see two or more people, and one of them steals the case from the other? That would be a really good shot to have in this. Also, if you're putting together a trailer to showcase the script, some dialogue or character moments wouldn't go amiss - I saw some flashes of character moments in there (the guy taking the punch with a bit of a smile, for instance) - but a few more would be nice. Who's the sympathetic one? Get that one in there.
The Bourne Supremacy has probably my favourite chase scene of all time, if that's any help. Relevant passages quoted here.
318 pt 3 INT./EXT. CAB -- DAY 318 pt 3 *
BOURNE IN THE YELLOW CAB -- starting THE ENGINE -- peeling *
away! -- careening into the street and -- *
KIRILL sprinting into the parking lot, just in time to see - *
- *
318 pt 4 INT. CAB -- DAY 318 pt 4 *
BOURNE concentrating away the pain -- trying to drive -- *
319 *
319 EXT. MARKET PARKING LOT -- DAY
TWO LADIES ducked behind a BIG BLACK G-WAGON -- freaked out *
as KIRILL grabs their keys and -- *
320-335 INT./EXT. MOSCOW STREETS/CARS/FACES -- DAY 320-335 *
THE CAB speeding across A BOULEVARD into an older *
neighborhood of rising narrow streets and -- *
TWO MOSCOW POLICE CARS PULLING U-TURNS on the BOULEVARD -- *
whipping around to give chase and -- *
110.
THE G-WAGON in full pursuit now and -- *
BOURNE DRIVING -- up this curving little hill and -- *
THE TWO MOSCOW POLICE CARS starting to climb and -- *
KIRILL DRIVING and he's on the hill now -- *
BOURNE -- bad hand on the wheel -- holding on -- trying to *
find something in passenger seat -- TUBE SOCKS? *
THE TWO MOSCOW POLICE CARS splitting up! -- one on Bourne's *
ass -- the other cutting hard into A SIDE STREET, flanking *
him and -- *
BOURNE -- topping the hill -- two choices -- right or left? *
RIGHT! -- No! -- wrong -- because down the hill there's A *
POLICE CAR just about to angle in from THE SIDE-STREET and - *
- *
BOURNE -- no choice -- FLOORING IT! -- *
THE CAB -- it's a whale -- SLAM! -- knifing the front end *
of THE POLICE CAR and -- *
THE POLICE CAR -- spun back! -- CRASHING AGAINST A BUILDING *
ON THE CORNER and -- *
KIRILL -- right behind that guy -- swerving -- onto the *
sidewalk -- SPARKS FROM THE WALL AS HE SCRAPES! -- hanging *
in -- skidding into a turn down the hill and -- *
JUST MISSING THE FIRST POLICE CAR bombing right past him! *
BOURNE -- in pain as he packs his shoulder wound with the *
socks -- Ahead -- the street banks downhill to left and -- *
THERE! -- A BOULEVARD -- wide ride -- lots of traffic and -- *
THE CAB rocketing into the flow and -- *
BEHIND HIM -- POLICE CAR #1 with THE G-WAGON right on his *
ass and -- *
BOURNE -- Wrists flicking the wheel. THE CAB screaming *
through the slower traffic and -- *
KIRILL -- totally on it -- pedal down -- passenger window *
open -- wind blowing -- he's got THE PISTOL in his hand -- *
closing the gap and -- *
THE BLACK G-WAGON -- blowing past POLICE CAR #1 and -- *
111.
BOURNE -- steering -- barely -- as he tears a few strips of *
DUCT TAPE to finish his triage -- *
BLAM! -- BLAM!! -- THE G-WAGON -- right beside him! -- *
BOURNE -- reacting -- what the fuck?! -- that's not a cop! - *
- but no time to clock Kirill because -- *
KIRILL -- shit! -- can't keep shooting -- into the oncoming *
lanes -- swinging wide -- A TRUCK! -- swerving again and -- *
THE CAB -- wavering again -- rallying and -- *
UP AHEAD -- THE BOULEVARD opens into THE RIVER BELTWAY -- *
big -- wide -- fast -- KREMLIN in the BG and -- *
FOUR NEW POLICE CARS screaming down from RED SQUARE and -- *
BOURNE skidding onto THE BELTWAY -- looking for room -- *
-- Finding it -- open road -- *
KIRILL back in the hunt and -- *
THE RIVER BELTWAY -- CAB SCREAMING PAST -- then ONE -- TWO - *
- THREE -- FOUR POLICE CARS -- now the BLACK G-WAGON and -- *
BOURNE -- Both hands on the wheel -- He's already forgotten *
about his shoulder -- *
THE BELTWAY -- up ahead -- ANOTHER CHOICE -- right takes *
you up to the city -- left is a TRANSIT TUNNEL and -- *
BOURNE -- checking his rearview -- starting right and -- *
THE TWO LEAD POLICE CARS right on his ass and -- *
BOURNE -- fake out -- veering left! -- last second -- into *
THE TUNNEL and -- *
RS -- wrong -- and worse, trying t o *
THE TWO LEAD POLICE CA
cha nge -- CRA SH!!!! -- SPINNING -- an d it's not just the m -- *
AT HIRD POLIC E CAR cau ght in the clut ter -- Not to menti on *
the COMMUTERS -- CRASH !!! The Police are out o f the rac e. *
KIRILL -- not fooled -- threading the needle -- through the *
carnage and into -- *
336-337 DELETED 336-337
112.
338 INT. THE TUNNEL -- DAY 338
FOUR LANES -- two way -- and long -- there's -- *
THE CAB -- squibbing past SLOWER CARS and -- *
KIRILL on him -- move for move -- follow the leader and -- *
BOURNE -- checks the rearview -- he's lost them all but the *
G-WAGON -- who the hell is that? -- *
The Heavyweights. World Championship Belt up for grabs. *
KIRILL -- gaining -- nearly pulling level. *
BOURNE -- nowhere to go -- that's never stopped him before - *
- he carves a path -- turns two lanes into three as *
sparks his way through a lane split -- *
THE G-WAGON -- roaring after him.
BOURNE -- checks the mirror -- closer -- who the Hell is
that guy? --
KIRILL -- Gaining -- FIRING through his passenger window.
BOURNE -- BRAKES --
TUNNEL -- As the two vehicles scrape along each other --
KIRILL -- FIRING BACK -- odd angle --
BOURNE -- ducking for meager cover as bullets stitch
through the roof --
TUNNEL -- The G-WAGON crushes the CAB against the wall --
sparks showering the windshield -- finally --
THE CAB -- shoots ahead --
KIRILL -- in a controlled fury --
THE SUV -- jerking hard and right into the rear of the CAB --
BOURNE -- trying to keep control -- spots a MAINTENANCE
TRUCK up ahead --
KIRILL -- banging away as his quarry straightens --
MAINTENANCE TRUCK -- looming --
113.
BOURNE -- a hard left --
TUNNEL -- the CAB wrapping around the front of the SUV --
WHAM! -- pushing it to the right -- the cab continues --
SPINNING around the G-WAGON --
DETAILS -- front bumpers locking on rear fenders as --
TUNNEL -- The G-WAGON hurtling forward -- the CAB ass end
first -- locked together --
KIRILL -- firing into the CAB -- really unloading now --
BOURNE -- down on the floor -- a tornado overhead --
KIRILL -- slaps in a new clip -- intense --
BOURNE -- gun against his door -- just below the window *
knob -- WHUMP-WHUMP-WHUMP -- *
SUV TIRE -- shredding. *
KIRILL -- fights the wheel -- *
ANOTHER TRUCK -- looming large -- *
BOURNE -- looking between the seats out the rear window -- *
a LANE DIVIDING PILLAR ahead -- *
CAB -- as BOURNE sits up -- jerks the wheel to the right -- *
TUNNEL -- the cars unlock -- spin away from each other -- *
KIRILL -- focused -- taking deadly aim -- *
BOURNE -- staring back at him -- calm -- "I know something *
you don't know." *
KIRILL -- frowns -- *
THE TRUCK -- swerves to reveal the PILLAR to Kirill's POV -- *
KIRILL -- eyes go wide -- *
WHALLOP! -- steel vs. concrete -- concrete victorious -- a *
bone compressing, truly horrendous impact! *
BOURNE -- whipping the wheel -- *
CAB -- spinning to a stop out of harm's way -- door opening *
-- *
114.
339 INT. TUNNEL -- DAY 339
Gun ready -- BOURNE heads over.
Ahead -- Spam in a can. BOURNE crouches down -- looks in.
KIRILL -- bloody, beat-to-crap -- barely alive -- but --
trapped -- entombed alive by the metal crushed around him --
BOURNE -- watches. Not here to help.
KIRILL -- looks over -- calms a moment as the two men
consider each other --
BOURNE looks at him long and hard.
Kirill dies.
And BOURNE stands -- and just walks away --
I guess that's not really a "race" movie, but it's a start. If you have any specific scripts in mind, http://www.imsdb.com/ is a good place to start looking.
Thanks Legba, but I just got out of a meeting where I was told I would be writing all of the movie except the race action sequences. So... I guess I'm writing like a 3rd of a movie now... May still try to write the action bits thought, it's something I've never done, I aim to impress when working with producers, and if, IF I have enough time I will def give it a go. Thanks for the help, friend.
Final video is up! It's got some pacing and VFX issues that I'd love to blame on the intern who wrote and directed it, but in reality we had a super rushed timeline and had never done anything like this before. We ended up writing it Tuesday, filming Saturday and Sunday mornings, and having to have the final cut into her professor by that following Friday. I'm SO glad this thing is done so we can focus on other projects. I can live happy if I never have to open up this project file again.
EDIT: Thanks for the feedback Legba. Unfortunately due to time and tech restraints, we didn't really do dialogue on this one. Here's hoping our acting shone through a little, but considering everyone in the video is actually various members of the team with little to no on-screen experience, I'm just glad we managed not to break too many bones.
I have 7 days to write a feature film for some producers in Shanghai. 7 Days to learn about Chinese culture, write a film taking place inside said culture, and then hope when some guy I don't know translates it, it doesn't come out trashier than how I had written it. If it works, I will have sold a script, and be paid very handsomely. If not, well here we are. And here we go....
GO! GO! GO!
21 pages done as of now. Hoping to have 40-60 by Sunday night. Then my producer/co-writer and I go back and really tighten it up. I'm pretty much getting all to interactions/direction of the thing down now. The idea he wants is pretty much for me to get all the shit on paper (which can sometimes get you exactly that, shit) but then leave us time(like 1 day) to come back and edit that clay shit into a rather nice story.
Never really written with this approach before,(I'm a constant editor as I go, AND again&again when I'm done kinda guy) we'll see how it goes.
e: Mr. Pink, your video is fun, it gave me a kinda superpower Boardlands feel.
uses the same music, for essentially the same scene - the big badass, kill tonnes of mans scene.
It's not a huge revelation or anything, but kind of neat. Especially when one is used for a pure action scene and the other the empathis is on the horror.
because I am crazy, I'm filming a new scene for Bloodsucking Books which is acting as a framing device, and it'll also be able to be used as voice-over to clarify a couple of things
at the moment the scene is just a character describing the plot from their point of view (which makes sense within the context) but it seems boring as shit
I don't intend to put the whole scene in the movie, I'll most likely just cherry pick what I need
but does anyone have any tips on how to make this seem not boring as hell?
0
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Quoththe RavenMiami, FL FOR REALRegistered Userregular
frankly based on how this needs to be filmed for technical reasons it needs to be one person
what's happening is she's basically recording her involvement in the plot (that isn't actually seen in the movie) and confessing all the ways she screwed up in her handling of things (which is mostly just me clearing up plotholes in the guise of a character defending herself)
so
I dunno
it's getting better at the moment, and like I said most of it won't end up in the movie anyway
Have her doing something normal, but film it unconventionally. Like, if she's frying eggs while delivering the voice over, do a lot of weird focus tricks with the sizzling eggs, salt shakers on the shelf, etc. Play with the visuals to keep people interested during long expositions, and they won't seem as wordy.
Quoth will you be here in twenty minutes so I can show you what I have
warning: it will be extremely boring to read
Clearly the answer was no!
Unreliable narrator suggestion sounds good, like have her say things that are clearly contrary to the actual stuff on screen to make herself look better?
I'm sorry, I'm so opposed to voiceover stuff, I think of the original Blade Runner and just uuugh
Finished working on the feature on Sunday and man, I'm still tired. My last day i came in at 12:30pm and I left around 6am. I also got heat exhaustion (possibly heat stroke) and poison oak during the shoot, but man did I meet some great people.
0
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denihilistAncient and MightyRegistered User, Moderatormod
I've got all my scenes arranged in sequences and then I've dragged and dropped the sequences onto big 'full project' sequence
I'm trying to add cross-dissolves between a couple sequences and FCP is not having it at all, 'insufficient media for edit' or some such
what am I missing? I can dissolve between individual clips no problem
Final Cut treats nested sequences as clips so it looks at the in on your "clip" and is all, "no motherfucker I'm not going to dissolve." Open the individual sequences, select all, copy and paste into a new sequence. You should then be able to add your dissolve.
Also, if you're going to get hurt while you're on a shoot, do it when you're on set.
Workman's comp, motherfucker.
0
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Zonugal(He/Him) The Holiday ArmadilloI'm Santa's representative for all the southern states. And Mexico!Registered Userregular
So last night my improv troupe attended a workshop put on by Chris Soldevilla, husband to Elizabeth Mitchell and super-practitioner of improv. He had a lot of great notes for our members and afterward told us that he may want us to attend his troupe's practices.
This is a guy who is personal friends with all the regulars from Who's Line, has performed with celebrities like Robin Williams and has had Jerry Seinfeld open for him in the past.
Posts
If I've ever thought anything was too long, I try to get a few friends to watch it with me. While doing so I try to pay attention to their body movements, where their eyes fall, if they seem bored, etc. If I see that a scene has a lot of people sort of looking around or shifting, maybe that one went on a little too long.
Take the victory and network?
You can still have your personal considerations regarding projects/productions but if you can use a positive reward from the experience do it.
Eh?
At the LA Shorts Fest in Hollywood
Movie is called Just Desserts
tell your husband to bring it to Australia
also, look what I got made the other day
I'm redoing all the colour grading I'd done before because it sucked and now it doesn't
guys
guys Magic Bullet Looks is pretty amazing
GO! GO! GO!
WHOA!
XBox LIVE: Bogestrom | Destiny
PSN: Bogestrom
I'm submitting Fake ID to NYU and How Do We Start? to USC.
We'll see how it goesssssss
For a film about a bunch of super-powered people fighting over a briefcase, I would have liked to see more fighting over the briefcase. Do you have any shots where you see two or more people, and one of them steals the case from the other? That would be a really good shot to have in this. Also, if you're putting together a trailer to showcase the script, some dialogue or character moments wouldn't go amiss - I saw some flashes of character moments in there (the guy taking the punch with a bit of a smile, for instance) - but a few more would be nice. Who's the sympathetic one? Get that one in there.
The Bourne Supremacy has probably my favourite chase scene of all time, if that's any help. Relevant passages quoted here.
BOURNE IN THE YELLOW CAB -- starting THE ENGINE -- peeling *
away! -- careening into the street and -- *
KIRILL sprinting into the parking lot, just in time to see - *
- *
318 pt 4 INT. CAB -- DAY 318 pt 4 *
BOURNE concentrating away the pain -- trying to drive -- *
319 *
319 EXT. MARKET PARKING LOT -- DAY
TWO LADIES ducked behind a BIG BLACK G-WAGON -- freaked out *
as KIRILL grabs their keys and -- *
320-335 INT./EXT. MOSCOW STREETS/CARS/FACES -- DAY 320-335 *
THE CAB speeding across A BOULEVARD into an older *
neighborhood of rising narrow streets and -- *
TWO MOSCOW POLICE CARS PULLING U-TURNS on the BOULEVARD -- *
whipping around to give chase and -- *
110.
THE G-WAGON in full pursuit now and -- *
BOURNE DRIVING -- up this curving little hill and -- *
THE TWO MOSCOW POLICE CARS starting to climb and -- *
KIRILL DRIVING and he's on the hill now -- *
BOURNE -- bad hand on the wheel -- holding on -- trying to *
find something in passenger seat -- TUBE SOCKS? *
THE TWO MOSCOW POLICE CARS splitting up! -- one on Bourne's *
ass -- the other cutting hard into A SIDE STREET, flanking *
him and -- *
BOURNE -- topping the hill -- two choices -- right or left? *
RIGHT! -- No! -- wrong -- because down the hill there's A *
POLICE CAR just about to angle in from THE SIDE-STREET and - *
- *
BOURNE -- no choice -- FLOORING IT! -- *
THE CAB -- it's a whale -- SLAM! -- knifing the front end *
of THE POLICE CAR and -- *
THE POLICE CAR -- spun back! -- CRASHING AGAINST A BUILDING *
ON THE CORNER and -- *
KIRILL -- right behind that guy -- swerving -- onto the *
sidewalk -- SPARKS FROM THE WALL AS HE SCRAPES! -- hanging *
in -- skidding into a turn down the hill and -- *
JUST MISSING THE FIRST POLICE CAR bombing right past him! *
BOURNE -- in pain as he packs his shoulder wound with the *
socks -- Ahead -- the street banks downhill to left and -- *
THERE! -- A BOULEVARD -- wide ride -- lots of traffic and -- *
THE CAB rocketing into the flow and -- *
BEHIND HIM -- POLICE CAR #1 with THE G-WAGON right on his *
ass and -- *
BOURNE -- Wrists flicking the wheel. THE CAB screaming *
through the slower traffic and -- *
KIRILL -- totally on it -- pedal down -- passenger window *
open -- wind blowing -- he's got THE PISTOL in his hand -- *
closing the gap and -- *
THE BLACK G-WAGON -- blowing past POLICE CAR #1 and -- *
111.
BOURNE -- steering -- barely -- as he tears a few strips of *
DUCT TAPE to finish his triage -- *
BLAM! -- BLAM!! -- THE G-WAGON -- right beside him! -- *
BOURNE -- reacting -- what the fuck?! -- that's not a cop! - *
- but no time to clock Kirill because -- *
KIRILL -- shit! -- can't keep shooting -- into the oncoming *
lanes -- swinging wide -- A TRUCK! -- swerving again and -- *
THE CAB -- wavering again -- rallying and -- *
UP AHEAD -- THE BOULEVARD opens into THE RIVER BELTWAY -- *
big -- wide -- fast -- KREMLIN in the BG and -- *
FOUR NEW POLICE CARS screaming down from RED SQUARE and -- *
BOURNE skidding onto THE BELTWAY -- looking for room -- *
-- Finding it -- open road -- *
KIRILL back in the hunt and -- *
THE RIVER BELTWAY -- CAB SCREAMING PAST -- then ONE -- TWO - *
- THREE -- FOUR POLICE CARS -- now the BLACK G-WAGON and -- *
BOURNE -- Both hands on the wheel -- He's already forgotten *
about his shoulder -- *
THE BELTWAY -- up ahead -- ANOTHER CHOICE -- right takes *
you up to the city -- left is a TRANSIT TUNNEL and -- *
BOURNE -- checking his rearview -- starting right and -- *
THE TWO LEAD POLICE CARS right on his ass and -- *
BOURNE -- fake out -- veering left! -- last second -- into *
THE TUNNEL and -- *
RS -- wrong -- and worse, trying t o *
THE TWO LEAD POLICE CA
cha nge -- CRA SH!!!! -- SPINNING -- an d it's not just the m -- *
AT HIRD POLIC E CAR cau ght in the clut ter -- Not to menti on *
the COMMUTERS -- CRASH !!! The Police are out o f the rac e. *
KIRILL -- not fooled -- threading the needle -- through the *
carnage and into -- *
336-337 DELETED 336-337
112.
338 INT. THE TUNNEL -- DAY 338
FOUR LANES -- two way -- and long -- there's -- *
THE CAB -- squibbing past SLOWER CARS and -- *
KIRILL on him -- move for move -- follow the leader and -- *
BOURNE -- checks the rearview -- he's lost them all but the *
G-WAGON -- who the hell is that? -- *
The Heavyweights. World Championship Belt up for grabs. *
KIRILL -- gaining -- nearly pulling level. *
BOURNE -- nowhere to go -- that's never stopped him before - *
- he carves a path -- turns two lanes into three as *
sparks his way through a lane split -- *
THE G-WAGON -- roaring after him.
BOURNE -- checks the mirror -- closer -- who the Hell is
that guy? --
KIRILL -- Gaining -- FIRING through his passenger window.
BOURNE -- BRAKES --
TUNNEL -- As the two vehicles scrape along each other --
KIRILL -- FIRING BACK -- odd angle --
BOURNE -- ducking for meager cover as bullets stitch
through the roof --
TUNNEL -- The G-WAGON crushes the CAB against the wall --
sparks showering the windshield -- finally --
THE CAB -- shoots ahead --
KIRILL -- in a controlled fury --
THE SUV -- jerking hard and right into the rear of the CAB --
BOURNE -- trying to keep control -- spots a MAINTENANCE
TRUCK up ahead --
KIRILL -- banging away as his quarry straightens --
MAINTENANCE TRUCK -- looming --
113.
BOURNE -- a hard left --
TUNNEL -- the CAB wrapping around the front of the SUV --
WHAM! -- pushing it to the right -- the cab continues --
SPINNING around the G-WAGON --
DETAILS -- front bumpers locking on rear fenders as --
TUNNEL -- The G-WAGON hurtling forward -- the CAB ass end
first -- locked together --
KIRILL -- firing into the CAB -- really unloading now --
BOURNE -- down on the floor -- a tornado overhead --
KIRILL -- slaps in a new clip -- intense --
BOURNE -- gun against his door -- just below the window *
knob -- WHUMP-WHUMP-WHUMP -- *
SUV TIRE -- shredding. *
KIRILL -- fights the wheel -- *
ANOTHER TRUCK -- looming large -- *
BOURNE -- looking between the seats out the rear window -- *
a LANE DIVIDING PILLAR ahead -- *
CAB -- as BOURNE sits up -- jerks the wheel to the right -- *
TUNNEL -- the cars unlock -- spin away from each other -- *
KIRILL -- focused -- taking deadly aim -- *
BOURNE -- staring back at him -- calm -- "I know something *
you don't know." *
KIRILL -- frowns -- *
THE TRUCK -- swerves to reveal the PILLAR to Kirill's POV -- *
KIRILL -- eyes go wide -- *
WHALLOP! -- steel vs. concrete -- concrete victorious -- a *
bone compressing, truly horrendous impact! *
BOURNE -- whipping the wheel -- *
CAB -- spinning to a stop out of harm's way -- door opening *
-- *
114.
339 INT. TUNNEL -- DAY 339
Gun ready -- BOURNE heads over.
Ahead -- Spam in a can. BOURNE crouches down -- looks in.
KIRILL -- bloody, beat-to-crap -- barely alive -- but --
trapped -- entombed alive by the metal crushed around him --
BOURNE -- watches. Not here to help.
KIRILL -- looks over -- calms a moment as the two men
consider each other --
BOURNE looks at him long and hard.
Kirill dies.
And BOURNE stands -- and just walks away --
I guess that's not really a "race" movie, but it's a start. If you have any specific scripts in mind, http://www.imsdb.com/ is a good place to start looking.
I've got all my scenes arranged in sequences and then I've dragged and dropped the sequences onto big 'full project' sequence
I'm trying to add cross-dissolves between a couple sequences and FCP is not having it at all, 'insufficient media for edit' or some such
what am I missing? I can dissolve between individual clips no problem
EDIT: Thanks for the feedback Legba. Unfortunately due to time and tech restraints, we didn't really do dialogue on this one. Here's hoping our acting shone through a little, but considering everyone in the video is actually various members of the team with little to no on-screen experience, I'm just glad we managed not to break too many bones.
21 pages done as of now. Hoping to have 40-60 by Sunday night. Then my producer/co-writer and I go back and really tighten it up. I'm pretty much getting all to interactions/direction of the thing down now. The idea he wants is pretty much for me to get all the shit on paper (which can sometimes get you exactly that, shit) but then leave us time(like 1 day) to come back and edit that clay shit into a rather nice story.
Never really written with this approach before,(I'm a constant editor as I go, AND again&again when I'm done kinda guy) we'll see how it goes.
e: Mr. Pink, your video is fun, it gave me a kinda superpower Boardlands feel.
( :^: )
and
uses the same music, for essentially the same scene - the big badass, kill tonnes of mans scene.
It's not a huge revelation or anything, but kind of neat. Especially when one is used for a pure action scene and the other the empathis is on the horror.
because I am crazy, I'm filming a new scene for Bloodsucking Books which is acting as a framing device, and it'll also be able to be used as voice-over to clarify a couple of things
at the moment the scene is just a character describing the plot from their point of view (which makes sense within the context) but it seems boring as shit
I don't intend to put the whole scene in the movie, I'll most likely just cherry pick what I need
but does anyone have any tips on how to make this seem not boring as hell?
Stick in another character and have them argue?
Have a third party interrupt?
I'm thinking like The Princess Bride maybe
frankly based on how this needs to be filmed for technical reasons it needs to be one person
what's happening is she's basically recording her involvement in the plot (that isn't actually seen in the movie) and confessing all the ways she screwed up in her handling of things (which is mostly just me clearing up plotholes in the guise of a character defending herself)
so
I dunno
it's getting better at the moment, and like I said most of it won't end up in the movie anyway
warning: it will be extremely boring to read
Clearly the answer was no!
Unreliable narrator suggestion sounds good, like have her say things that are clearly contrary to the actual stuff on screen to make herself look better?
I'm sorry, I'm so opposed to voiceover stuff, I think of the original Blade Runner and just uuugh
I hate voice over too but sometimes you just gotta salvage
Workman's comp, motherfucker.
This is a guy who is personal friends with all the regulars from Who's Line, has performed with celebrities like Robin Williams and has had Jerry Seinfeld open for him in the past.
And he wants us to play with him.
I am not YaYa!