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NEA Shot List

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SHOT LIST  
               
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
1  A   CU Tracking   Camera Bus stop   EXT  YES  Matt steps onto pavement Matt        
1  B  LS  Stationary  Camera, Tripod Bus stop EXT  YES  Bus drives away, Matt stands at bus stop and reaches in his pocket  Matt        
1 C Low MCU Stationary  Camera Bus stop EXT YES Matt takes his phone out of his pocket Matt        
  CU Stationary  Camera Bus stop EXT YES Matt phones his brother Matt       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
   MS  Stationary   Camera Bus Stop  EXT  YES  Jamie (voice): Hello?  Matt: I’m here, but I can’t see you?   Jamie (voice): Good…     Matt, Jamie (voice)       
2   MLS Tracking  Camera House EXT   YES Jamie is approaching a house in an entirely different location and stops outside of it  Jamie: … I’ll be there soon.     Jamie       
  BCU Stationary  Camera House EXT YES Jamie sighs deeply  Jamie        
  MS Stationary Camera House  EXT YES Jamie walks up and knocks on the house door Jamie       
SHOT LIST  
               
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
   MLS Stationary  Camera   House INT  YES   Seb opens the door  Seb, Jamie        
   MLS  Stationary  Camera House EXT YES   Seb: Matthew! Now this is a pleasant surprise. Come in, come in! Seb, Jamie        
  MLS  Stationary Camera House INT YES Jamie follows seb inside Seb, Jamie        
3  CU Stationary Camera Bus Stop  EXT YES Matt checks the time on his phone. Matt       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
   High MCU Stationary  Camera Bus Stop   EXT YES  Matt: It’s been 5 minutes; he only lives down the road!    Matt       
    CU  Stationary Camera Bus Stop EXT YES Matt texts Jamie – Everything ok?  Matt        
4  MCU Stationary Camera House INT YES Jamie receives the text and messages back – all good, won’t be long. Jamie       
  MS Stationary Camera House INT YES Jamie looks down until Seb offers him tea. Then he looks up and says he’s fine. Jamie, Seb       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
   Over the shoulder shot Stationary Camera House INT YES Seb sits down opposite Jamie   Jamie, Seb       
     MS Pan right Camera House  INT YES  Seb: So, I’m assuming you’ve come to settle your debts?  Jamie: I suppose so.     Jamie, Seb       
  MCU Stationary Camera House  INT YES Jamie begins typing a message to Matt.  Jamie, Seb       
5  MLS Stationary Camera Bus Stop EXT YES Matt walks back and forth, before hearing a notification and opening his phone Matt       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
   High CU Stationary Camera Bus Stop EXT YES I can’t see you tonight. I have to make things right before Seb tears this family apart.   (Message on Phone) Matt       
   Canted MLS Stationary Camera Bus Stop EXT YES Matt reads the message, mortified.  Matt       
  Over the shoulder shot Stationary  Camera Bus Stop EXT YES Matt: What’s he thinking! He’s gonna get himself killed!    Matt       
  LS Zoom Camera Bus Stop EXT YES Matt begins running from the bus stop as the camera zooms into his eyes.  Matt       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
6  MS Stationary Camera House INT YES Jamie sits anxiously  Jamie, Seb       
   MCU Stationary Camera House INT YES Jamie’s foot continuously tapping on the ground   Jamie, Seb       
  Over the shoulder shot Stationary Camera House INT YES Seb: Come on then? Jamie looks at him confused.  Jamie, Seb       
  BCU Stationary Camera House INT YES Seb: The money. Seb       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  Over the shoulder shot Stationary Camera House INT YES Seb (over Jamie’s shoulder): Don’t play stupid with me, you know what happened to the last fella  Jamie, Seb       
  MCU Stationary Camera House INT YES Jamie, pulling out an envelope: Oh, right.  Jamie       
  CU Tracking Camera House INT YES The envelope slides across the table.  Jamie, Seb       
  MS Stationary Camera House INT YES Seb picks up the envelope and opens it Seb       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  Worm’s eye view POV Shot Tracking Camera House INT YES Seb looks inside the envelope.  Seb: Oooh. Sorry mate, you’ve only given me 12 grand. Seb       
  High CU Stationary Camera House INT YES Jamie: … yeah? That’s how much I borrowed from you.    Jamie       
  XCU Stationary Camera House INT YES Seb: You’re forgetting about the interest.  Seb       
  BCU TO MCU Zoom out Camera House INT YES Jamie pauses.  Jamie: But that wasn’t th-    Jamie       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  MLS PED UP Camera House INT YES Seb, standing up and getting aggressive: Quite frankly, I don’t give a shit about what the deal is! Are you gonna pay me what I want or do we have to do this another way.    Jamie, Seb       
  MCU Stationary Camera House INT YES Jamie anxiously faces the ground. “How much more do I need?” Jamie       
  CU Stationary Camera House INT YES Seb: I want double.  Seb       
7  Several Stationary + tracking Camera Pavement, cycle track, grosnez.  EXT YES Montage of Matt running Matt       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  XLS Stationary Camera Grosnez  EXT YES Matt stops running.   Matt       
  Low MS Stationary Camera Grosnez EXT YES  Matt takes his phone out and calls Jamie. Matt: Come on, come on… answer the phone. Matt       
8  CU Stationary Camera House INT YES Jamies phone begins ringing in his pocket.  Jamie       
  MLS Stationary Camera House  INT YES Jamie looks down to his pocket, then to Seb. Jamie, Seb        
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  BCU Stationary Camera House INT YES Seb stares directly at him, growing more agitated. Seb       
  Side facing MCU Stationary Camera House INT YES Seb: Put the phone on the table Matthew. Seb       
  MLS Stationary  Camera House INT YES Jamie takes the phone out of his pocket and places it in front of him.  Jamie, Seb       
  Over the shoulder shot Stationary Camera House INT  YES  Seb: Now. Am I going to get the rest of my money or do we have to put an end to this another way? Jamie, Seb       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  Over the shoulder shot  Stationary  Camera House INT YES Jamie: Look Seb, I don’t have another 12 thousand to give you. Jamie, Seb       
  CU Stationary Camera House INT YES Seb: Very well then. Seb       
  Low MS Stationary  Camera House INT YES Seb reaches inside his jacket and pulls out a gun.  Seb       
  Over the shoulder shot  Zoom in Camera House INT YES Seb: I tried to warn you Matthew. But I should’ve known you wouldn’t listen to me.   (Zoom into Jamies face) Jamie, Seb       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  MCU Stationary Camera House INT YES Seb lifts the gun, pointing it directly at the camera  Seb     
9  Track out LS Tracking Camera Road EXT YES Matt, running: Almost there. He freezes as he hears a gunshot from nearby. Matt     
  Canted MS Stationary Camera Road EXT YES Matt places his hands on his head – “No…” Matt     
  XLS Stationary Camera Road EXT YES Matt runs out of frame Matt     
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
10  Several Stationary + Tracking Camera Road, House EXT, INT YES CROSS CUTTING BETWEEN SEB WASHING HIS HANDS AND MATT RUNNING TOWARDS THE HOUSE Seb, Matt     
  LS Whip Pan Camera House INT YES Seb turns around to see Matt enter the house. Seb, Matt     
  Worms Eye MS Stationary Camera House  INT YES Seb rubs his eyes and looks again. Seb: I must be seeing things! You’re… you’re…  Seb, Matt     
  CU Stationary Camera House INT YES Matt: I’m what Seb?   Matt     
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  XCU Stationary Camera  House INT YES Seb: Dead. Seb     
  XCU Stationary  Camera  House INT YES Matt’s eyes widen Matt     
  MLS Stationary Camera House INT YES Matt: No! You’re a liar! He’s not… he can’t be! Matt     
  MCU Stationary Camera House INT YES Seb: He? Who’s ‘he’??? Matt     
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  High MS Stationary  Camera House INT YES Matt: my brother. I should never have told him about you! If he didn’t know he’d still be here! Matt     
  BCU Stationary Camera House INT YES  Seb’s eyes move away from Matt. Seb     
  CU Stationary Camera House INT YES The gun sits on the table  None     
  MCU Stationary Camera House INT YES Matt realizes where he’s looking. Matt: Don’t even think about it.  Matt    
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  MS Stationary Camera House INT YES Seb rushes for the gun Seb     
  MS Stationary Camera House INT  YES Matt rushes for the gun Matt     
  CU Stationary Camera House INT YES Both hands touch the gun Seb,Matt     
  Low angle Stationary Camera House EXT YES Gunshot prompts title card None     

City Of God First Response

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Score – 10/10

A memorable scene for me is the flashback revealing that Lil Dice had escaped the motel, and became Lil Ze. Specifically, the montage depicting him shooting several people stood out, not only using elipsis to show him aging up but also connoting to the audience how much he enjoys murder and how long he had been killing people for.

An iconic shot from the film is that of Lil Ze sat by Benny’s dead body. This was significant to me as it reinforced the idea that nobody was safe from the violence in the City of God, regardless of who they were. It is also the one time that Lil Ze shows genuine emotion towards another human being, since Benny was his best friend and the two had grown up together.

NEA Script

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THE OTHER BROTHER 

FADE IN 

Matt steps onto the pavement and the bus drives away, he’s standing at the bus stop. 

Matt takes his phone out of his pocket and phones his brother. 

Jamie (voice): Hello? 

Matt: I’m here, but I can’t see you?  

Jamie (voice): Good… 

CUT  

Jamie is approaching a house in an entirely different location and stops outside of it 

Jamie: … I’ll be there soon. 

Jamie sighs deeply as he walks up and knocks on the house door. A man opens the door. 

Seb: Matthew! Now this is a pleasant surprise. Come in, come in! 
Jamie follows Seb inside, maintaining a straight face.  

CUT 

Matt checks the time.  

Matt: It’s been 5 minutes; he only lives down the road!  

Matt texts Jamie – Everything ok?  

CUT 

Jamie, holding his phone under the table, looks at Matt’s message and replies – All good, won’t be long.  

Seb: Can I get you a cup of tea? 

Jamie looks up 

Jamie: No. I’m fine thank you.  

Seb sits down opposite Jamie 

Seb: So, I’m assuming you’ve come to settle your debts? 

Jamie: I suppose so.  

Jamie looks under the table again, and begins typing a message to Matt. 

CUT 

Matt walks back and forth, before hearing a notification and opening his phone – I can’t see you tonight. I have to make things right before Seb tears this family apart.  

Matt reads the message, mortified. 

Matt: What’s he thinking! He’s gonna get himself killed!  

Matt begins running from the bus stop as the camera zooms into his eyes. 

CUT 

Jamie sits anxiously, his foot continuously tapping on the ground.  

Seb: Come on then? 

Jamie looks at him confused. 

Seb: The money. Don’t play stupid with me, you know what happened to the last fella. 

Jamie, pulling out an envelope: Oh, right. 

He slides the envelope across the table. Seb opens it up and looks inside. 

Seb: Oooh. Sorry mate, you’ve only given me 12 grand. 

Jamie: … yeah? That’s how much I borrowed from you.  

 Seb: You’re forgetting about the interest. 

Jamie: But that wasn’t th-  

Seb, standing up and getting aggressive: Quite frankly, I don’t give a shit about what the deal is! Are you gonna pay me what I want or do we have to do this another way.  

Jamie: How much more do I need? 

Seb: I want double. 

CUT 

Montage of Matt running through different locations. 

He reaches one area (grosnez) and stops. He takes out his phone and rings Jamie. 

Matt: Come on, come on… answer the phone. 

CUT 

Jamies phone begins ringing in his pocket.  

Seb stares directly at him, growing more agitated. 

Seb: Put the phone on the table Matthew. 

Jamie takes the phone out of his pocket and places it in front of him.  

Seb: Now. Am I going to get the rest of my money or do we have to put an end to this another way? 

Jamie: Look Seb, I don’t have another 12 thousand to give you. 

Seb: Very well then. 

Seb reaches inside his jacket and pulls out a gun.  

Seb: I tried to warn you Matthew. But I should’ve known you wouldn’t listen to me.   

Seb lifts the gun, pointing it directly at the camera  

CUT 

Matt, running: Almost there. 

He freezes as he hears a gunshot from nearby.  

Matt: No…  

He runs out of frame. 

CROSS CUTTING BETWEEN SEB WASHING HIS HANDS AND MATT RUNNING TOWARDS THE HOUSE 

Seb turns around to see Matt enter the house. 

Seb rubs his eyes and looks again. 

Seb: I must be seeing things! You’re… you’re… 

Matt: I’m what Seb?  

Seb: Dead. 

Matt: No! You’re a liar! He’s not… he can’t be! 

Seb: Who is “he”??? 

Matt: My brother. I should never have told him about you! If he didn’t know he’d still be here!  

Seb’s attention changes from Matt to the gun on the table.  

Matt realizes where he is looking. 

Matt: Don’t even think about it.  

Both go to grab the gun 

OFFSCREEN GUNSHOT ENDS THE FILM.  

Pan’s Labyrinth Contexts

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Technological – Pan’s Labyrinth uses a combination of practical effects and CGI in order to add a sense of verisimilitude to the fantastical characters in the film. For example, The Pale Man’s appearance is mostly made from prosthetics, however his eyes on his hands and legs are enhanced by digital effects.

Historical – Del Toro deciding to set the film in the 1940s, in the aftermath of the Spanish Civil War, allows for the audience to connect with the characters, who have been personally impacted by conflict, such as Ofelia who had lost her dad and was essentially forced to treat the captain as a father figure.

Social – Due to the periodic setting of the film, women such as Mercedes are mistreated and looked down upon as a result of the patriarchal society that was in place at the time.

Political – The character of Captain Vidal, a fascist, is clearly the villain of the film. On the other hand, the rebellion that Mercedes and Doctor Ferreiro assist are the ones the audience are intended to be supporting throughout the narrative, since they are anti-authoritarian.

Institutional – Pan’s Labyrinth was produced by several international companies, and premiered at the 2006 Cannes film festival. It made $83.9 million on a budget of $19 million, therefore becoming a box office success.

Pan’s Labyrinth Representations and Aesthetics

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Representation of Gender – Men are represented in the film through the character of Captain Vidal. Vidal is shown to the audience to be violent (as seen when he murders several people), sexist (“She is just a woman” is what he says when asked if it was safe for him to be left alone with Mercedes) and unemotional, prioritising his legacy as opposed to his wife (he tells his workers to ensure that his son is born regardless what happens to Carmen).

Use of Aesthetics – The golden surrounding when Ofelia reunites with her family at the end of the film connotes wealth, reinforcing the idea of royalty within the family.

The dark, mossy appearance of the labyrinth suggests that it is ancient and has been left alone for an extended period of time.

Pan’s Labyrinth Key Elements

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Sound – Narration is used in the opening of the film to establish to spectators what Ofelia was reading in the car, but also to introduce them to the magical reality they will see throughout the film. The narration foreshadows what the Faun eventually tells Ofelia about how she is the Princess and must “return” to her family.

Mise-En-Scene – The use of a dead rabbit prop in this scene makes clear to the audience that the men that Captain Vidal had killed were telling the truth about why they were armed, as they were simply out hunting. This reinforces the captain’s role as the villain of the narrative, as all him and his men had to do was look inside the bag before killing them.

Cinematography – A low angle of the Labyrinth, when Ofelia first comes across it, is used by Del Toro in order to pull spectator attention towards the head, indicating the significance of the fantasy-related iconography and how it will influence the plot of the film.

Editing – A wipe effect is used as the camera passes a tree, in order to connect two parallel stories in the film together in a natural manner. We see one narrative strand (the captain and his men entering the forest) transition into the second (Ofelia exploring the forest while reading).

Pan’s Labyrinth First Response

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Score – 9/10

A memorable scene for me is when Ofelia first meets the Faun, since it is the first time in the film we see any kind of ‘magical’ character, with the dark lighting making it harder for the audience to interpret what the Faun’s intentions are and the performance adding a sense of believability that it is an ancient creature.

An iconic shot from the film is that of the Captain dying infront of the resistance members, since it creates an oppositional image from the rest of the film, in which the Captain maintained power and killed resistance members.

NEA Requirements + Short Film Influences

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  1. My film will have the distinct genre of drama, featuring characters such as mob bosses and characters in debt, similar to The Rats from Wild Tales. I have chosen this as drama is quite a wide genre, which means that I’m not limiting what I write in order to make it funny as I would for comedy or scary as I would for horror.
  2. It will also follow two parallel stories, which will eventually combine since the two main characters of these stories are intended to be brothers. I have chosen this as it allows for me to use a variety of locations, both interior and exterior, while keeping a relatively small cast.

Short Film Influences (will be updated throughout pre-production)

Film element Short films Notes on which elements you are using – which film, where and how are they used My film Where are the examples or influences in your own film 
Narrative structure – How are narrative features and dramatic qualities constructed The Rats – Family involved in crime but the woman wants to put an end to it (done through the killing of the loan shark)  Bombita – the man and his wife communicating through text messages La Jetee – Main character is killed One brother is in debt to a mob boss, something his twin knows about, hence why he goes to the house pretending to be his brother.   The two brothers will be speaking through text messages One of the two brothers will have an evident death, with the latter gunshot being ambiguous as to who has been shot. 
Cinematic influences – How have cinematography, editing and sound techniques been used Til Death Do Us Part – POV/moving shot of the door Pasternak – still frame ending cutting off the implied deaths of the passengers and parents The Rats – Tracking shots create claustrophobic atmosphere. Bombita – shot/reverse shots add realism to the conversations between the man, his wife, and their lawyers. Also, ellipsis is used to shorten down the first time the man goes to prison. A pan shot is used to reveal the man grabbing the fire extinguisher.  As the crime lord’s door opens, I intend to film a similar shot to the moving door.  Once his brother is killed by the mob boss, the other twin will rush to grab the gun, with an offscreen gunshot ending the film.  I will use tracking shots around the house to create an unnerving feel to the narrative, I will also use them in certain scenes where the other brother is running to get there. As the brother at the house speaks with the mob boss, shot reverse shots will be used to create tension and realism. Ellipsis will be used to shorten the other brother’s journey to the house, allowing for a variety of locations to be used.  I intend to use a pan or whip pan in order  
Creating meaning and effect – How the production creates meanings and generates responses for the spectator  The Rats – uses a rack focus to place an emphasis on the poison, suggesting the woman’s plan to kill the loan shark without explicitly stating it. The small cast of characters reinforces claustrophobia.  I will use a rack focus to emphasize the gun that the crime lord is in possession of, making his sinister intentions clear for spectators.  I will keep my cast small in order to both not over-complicate my film but also to create tension.