
Script annotation

1. Reaction shot of fired boy + close ups of Tate
2. Reason to start the fight (finding leaflet)
3. She finds out at the fight-messaging
4. Come into empty house- they try to fix relationship, runs after her
Maria- Director
Tate- Cinematographer
Poppy- Editor
Boxing/ person training and fighting towards their passion fighting challenges.
Start: fists bruised in a dark quiet place
Ends: shot of the boxing gloves and cheers of people at the boxing match (sounds of bell)
We planned to create a sports drama similar to that of Rocky (1978, G. Avildsen) and Southpaw (2015, Fuqua). Our film features a young up incoming boxer must prepare for the biggest fight of his life, while dealing with his own internal challenges along the way. We were inspired by the rhythmic montage used in Rocky and the writing of the relationship troubles of Southpaw.
Left to do:
Shot list: close ups, montage, two shot, wide shot, medium shot
Outside-day time
1. Outside montage running/ training- Fregate
2. Touching gloves-gym
At Poppy’s house- night time
3. Touch up kitchen convo- interacting
4. Living room convo. gets him an interview- he lies that he will go
5. Goes to the fight instead-leaves the house
6. Fight scene/ touching gloves
7. She is waiting for him, worried as he is late.
8. He knocks on the door- she opens, close up of her worried face, shot of him bruised with money. Hug- side shot of her worried, his face is hidden.
9. Looking in mirror scene redo-mise en scne, props, blocking.
10. More reaction shots-covo and gym reaction shots- close up on her face
Production Role 1 | Production Role 2 | Production Role 3 – Complete Film | |||
ROLE | Editor | Cinematographer | Director | ||
GENRE (SUBGENRE) | Psychological horror | Black and white- romantic-breathless car scene | mockumentary | science fiction/AI | Psychological/horror Stalker/ American Psycho-morning routine |
MOVEMENT INFLUENCE(S) | German expressionism | French new wave | Traking shots/ pans/ following/ naturalistic camera, reactions, wide shots, props | aesthetic/ flowy cinematography, makeup/ hair/ blue light- Blade runner 2049 aesthetic | porps, costumes, setting design |
PRACTITIONER INFLUENCE (S) | Robert Wiene Continuity editing | French new wave- non continuity | tracking shots, naturalistic camera | Filmmake shots, wide shots, angles, focus, depth of fiels, wide shots, classic hollywood style | |
TARGET AUDIENCE | Horror fans | Families/Romance fans | comedy fans | science fiction fans | |
PRODUCTION SCALE | few person crew | feperson crew-3/4 | 3/4 | 2/3 | |
KEY THEMES/ISSUES | unstable mental health hallucinacion | non connected naturallistic environments/ daily romance | cheating/ interview comedy, following the cheater/ reactions when finding out | Blade runner/ Alexa gone rogue/ girl assistant AI |
Element | |
Chosen Role | |
Specific Techniques | |
Genre | Horror/Romance |
Story Outline | |
Location | Forest/Beach/Inside |
Kit | Camera, tripod, lights, steadicam |
Additional Crew | Possible cameraman |
Inspiration | Tarantino, Kubrick(horror)…Wes Anderson (comedy/romance) |
Cast | 2,3 actors |
I have chosen Alfonso Cuarón’s 2006 dystopian action thriller film, “Children of Men” for my textual analysis. The film is set in the year 2027, after 18 years of human infertility which has left the world on the verge of extinction and destruction. A young woman, called Kee gets pregnant. Theo, a bureaucrat, reluctantly takes the responsibility to protect and transport her to safety. I have chosen the section of the film between 35:05- 39:03. which occurs during the end of the film’s first act. In this scene Kee reveals her pregnancy to Theo, showing him what is at stake, creating a point of no return and managing to convince him to transport her to safety with the Human Project. To analyse this section, I am focusing on mise-en-scene (including the use of visual motifs), cinematography, and narrative. The context examined focuses on social and political factors connected to the film around the time of its production in 2006.
Micro elements: Mise en Scene, Cinematography
Macro elements: NARRATIVE – point of no return, Kee’s Story structure
Context: Social & Political- Brexit, Immigration, Terrorism, Government, social=9/11
Time stamp: 34:00- 39:00- Barn scene
Kee revealing her pregnancy in the barn.
2. A girl walks home alone at night
Arash enters her house dressed as a vampire
3. Vampire meets Saeed.
mark: 6/10
Memorable Scene: When Shirin invites Arash to her house