Peter Parker fight scene

Pre-Production: 

My original Screenplay of choice was the fight scene between Superman and Zod. I wanted to do this section of screenplay because I like the concept of showing fighting and their emotions and expression in the film. However, we chose the screen play of the high school fight scene from Spiderman over that one because of logistical reasons. The Spiderman screenplay is was much easier to film within the school environment. This is because the scene of choice was from inside a school where the school bully ‘Flash’ is abusing Mary Jane. We filmed this scene by the lockers as this is often the typical place for fights in a school in a film. The people in my group were Harvey who played Flash; Morgan who played MJ and helped directing, James who filmed the scene and I who was Spiderman. Before filming we spoke about as a team, what we wanted to do and what kind of shots we wanted to incorporate. We discussed things like how Harvey was going to enter the frame and how long after I would enter, what fighting actions would be used and other important things that would be featured in the film. 

Production: 

The production time was longer than expected because of certain problems we encountered. For one, we didn’t want to make too much noise because we were conscious that there were still lessons going on. Also, we had to retake some shots more than one because of laughing in the shot. 

Post production: 

We all took copies of the unedited footage so we could all edit our own versions on our own. This was interesting because we could see the different styles of editing that each member of the team has and see where element of their video looks and sounds better or worse. I focused on editing the shots to be short and have the same bit of screen play from different angles. One of the things that I did in the postproduction process was to overlay the audio from one clip onto another because the first take with the line ‘how do you like it’ had better audio but the action was not as good so I overlay it onto the third take which was missing some of the dialogue but had better action. I used an equaliser to edit the audio of the dialogue and the background noise. Because the quality of the mic is not the best, a significant hissing sound could be heard on all the audio. Therefore, I created a low pass filter to cut out the top end frequencies which is where the hissing noise was. I could clearly hear the result as the hissing was almost completely gone. I then boosted the mid frequencies which was around where the dialogue was. 

Peter is walking out of the school with Mary Jane when
they are ambushed by Flash.  He starts to ridicule Peter,
then threatens him.  Peter just clenches his jaw and backs
away.  Peter does not believe in violence... and he has
never thrown a punch in his life.  It just wouldn't occur
to him.

Through a row of bushes he sees Flash grab Mary Jane by
the arm and spin her around.  They are arguing.  Flash
slaps her across the face.  Peter is so enraged his hands
snap a four inch tree limb without him realizing it.

Flash is walking to his car after gymnastics practice.  It
is dark.  A figure drops silently down from behind him.
Flash spins and sees a guy in a black fishnet mask.
Thinking it is a robbery, Flash swings... only to grab his
own fist in pain.  It was like hitting oak.

Peter holds Flash with one hand and slaps him hard.

                          SPIDER MAN
          How do you like it?  Huh?

He slaps him again, backhand.  Then he cocks back his fist
and BLAM!

Punches Flash so hard he flies ten feet.  He picks him up,
gets him in a painful armlock... marches him to his
beloved Porsche and slams him brutally against it.  He
pounds Flash into the car until the jock collapses, semi-
conscious.  Peter then rips a signpost out of the ground
and pounds the car into junk.  Glass flies everywhere.

Peter leans close to Flash and tells him to stay away from
Mary Jane... or else.

Cut to Peter running.  He stops around a corner, out of
sight.  In darkness he stands panting... looking down at
his hands.  He rubs his knuckles.

Reflection: 

Looking back on the task, I think the main things that we should have changed or done differently would have included: planning more about the flow of the scene, also think carefully about the shot type, angle and movement.  I we were to redo this task, I think we should have chosen a scene with more dialogue as our one only had 1 line. 

Screenplay

195 EXT. MUSTAFAR-LANDING PLATFORM-DAY

The sleek NABOO SKIFF lands on the Mustafar landing platform near Anakin’s GREEN STARFIGHTER. ANAKIN runs up to the SKIFF as the ramp lowers. PADME runs to him.

ANAKIN: Padme, I saw your ship . . .

They embrace.

PADME: Oh, Anakin!

ANAKIN: It’s all right, you’re safe now. What are you doing out here?

PADME: I was so worried about you. Obi-Wan told me terrible things.

ANAKIN: What things?

PADME: He said you have turned to the dark side . . . that you killed younglings.

ANAKIN: Obi-Wan is trying to turn you against me.

PADME: He cares about us.

ANAKIN: Us??!

PADME: He knows . . . He wants to help you.

ANAKIN: Is Obi-Wan going to protect you? He can’t … he can’t help you. He’s not strong enough.

PADME: Anakin, all I want is your love.

ANAKIN: Love won’t save you, Padme. Only my new powers can do that.

PADME: At what cost? You are a good person. Don’t do this.

ANAKIN: I won’t lose you the way I lost my mother! I’ve become more powerful than any Jedi has ever dreamed of and I’ve done it for you. To protect you.

PADME: Come away with me. Help me raise our child. Leave everything else behind while we still can.

ANAKIN: Don’t you see, we don’t have to run away anymore. I have brought peace to the Republic. I am more powerful than the Chancellor. I can overthrow him, and together you and I can rule the galaxy. Make things the way we want them to be.

PADME: I don’t believe what I’m hearing . . . Obi-Wan was right. You’ve changed.

ANAKIN: I don’t want to hear any more about Obi-Wan. The Jedi turned against me. Don’t you turn against me.

PADME: I don’t know you anymore. Anakin, you’re breaking my heart. I’ll never stop loving you, but you are going down a path I
can’t follow.

ANAKIN: Because of Obi-Wan?

PADME: Because of what you’ve done . . . what you plan to do. Stop, stop now. Come back! I love you.

ANAKIN: (seeing Obi-Wan) Liar!

PADME turns around and. sees OBI-WAN standing in the doorway of the Naboo Cruiser.

PADME: No!

ANAKIN: You’re with him. You’ve betrayed me! You brought him here to kill me!

PADME: NO! Anakin. I swear … I …

ANAKIN reaches out, and PADME grabs her throat as she starts to choke.

OBI-WAN: Let her go, Anakin.

ANAKIN: What have you and she been up to?

OBI-WAN: Let her go!

ANAKIN releases his grip on the unconscious PADME and she crumples to the ground.

ANAKIN: You turned her against me.

OBI-WAN: You have done that yourself.

ANAKIN: You will not take her from me.

ANAKIN throws off his cloak.

OBI-WAN: Your anger and your lust for power have already done that.

OBI-WAN flings off his cloak.

OBI-WAN: (continuing) You have allowed this Dark Lord to twist your mind until now . . . until now you have become the very thing you swore to destroy.

They circle each other until OBI-WAN is near PADME. He places his hand on her.

ANAKIN: Don’t lecture me, Obi-Wan. I see through the lies of the Jedi. I do not fear the dark side as you do. I have brought peace, justice, freedom, and security to my new Empire.

OBI-WAN: Your new Empire?

ANAKIN: Don’t make me kill you.

OBI-WAN: Anakin, my allegiance is to the Republic … to democracy.

ANAKIN: If you’re not with me, you’re my enemy.

OBI-WAN: Only a Sith Lord deals in absolutes. I will do what I must.

(ignites his lightsaber)

ANAKIN: You will try.

ANAKIN ignites his lightsaber.

ANAKIN lashes out at OBI-WAN, and they begin a ferocious sword fight. ANAKIN throws CONTAINERS at OBI-WAN using the Force.
They work their way off the landing platform and into the main entry hallway. ANAKIN kicks OBI-WAN, and OBI-WAN drops to a lower level.
ARTOO BEEPS his concern and rushes to the unconscious PADME’s aid.

breakfast club screenplay-

BLANK SCREEN:
Against Black, TITLE CARD:
	"...and these children that you spit on,
	as they try to change their worlds are
	immune to your consultations.  They're
	quite aware of what they're going through...
			- David Bowie"

The Blank Screen and Title Card SHATTER to reveal...

1. EXT. SHERMER HIGH SCHOOL - DAY

During Brian's monologue, we see various views of
things
inside the school including Bender's locker.

		BRIAN (VO)
	Saturday...March 24, 1984.  Shermer
	High School, Shermer, Illinois.
	60062.  Dear Mr. Vernon...we accept
	the fact that we had to sacrifice a
	whole Saturday in detention for
	whatever it was that we did wrong,
	what we did was wrong.  But we think
	you're crazy to make us write this
	essay telling you who we think we
	are, what do you care?  You see us
	as you want to see us...in the
	simplest terms and the most
	convenient definitions.  You see us
	as a brain, an athelete, a basket
	case, a princess and a criminal.
	Correct?  That's the way we saw each
	other at seven o'clock this morning.
	We were brainwashed...

As an individual, I chose to recreate this clip of ‘the breakfast club’ as it is one of my favourite films and I feel like the screenplay stands out compared to other teen coming of age films at the time. I also feel that the breakfast club follows the hero’s journey which I find interesting to adapt. I was interested in the possibility for editing as previously that is something I have struggled with. When joined with my partner for this project, we agreed that this was the best option for us to film as it is a very well-known film so would be interesting to replicate and being in a school made it very convenient for us to film and make our own. It was also easier as we were not having to film actual teachers. My intention was to film as originally intended but edit it to my own liking to create a more ominous vibe. Our whole piece was a monologue on top of a school montage. We kept each shot empty to add to the mis-en-scene as it is meant to be a Saturday so no other students would be around. As often people around school would walk into frame, I had to cut them out when editing. We mostly filmed panned shots as neither me nor my partner were very proficient in cinematography so couldn’t do complicated shots and although the shots came out shaky, they got the job done.