Shooting Script

Yesterday, when I posted about montage, I inserted a link to a page of posts I’d previously made about the music In The Shadows. The search criteria “In The Shadows” brought up a post from November 2011 when I took part in NaNoWriMo (an annual international challenge to write a 50,000 word novel during the month of November).  The post, from the 8th of November, centred on the relationship between a man and his mother. He is the ex-prime minister, in hiding from his government, and she is an underground saboteur. She disappeared from his life when he was a child.

In his book The Film Sense, Sergei Eisenstein talks of a shooting script in relation to some notes Leonardo Da Vinci made about a possible painting (he didn’t make the painting). The notes are very detailed and Eisenstein refers to them as a potential film script. This got me thinking about that post in a similar vein so I downloaded it, along with the 9th of November post, and edited them into something a bit more manageable for shooting with. It’s still a bit wordy at the moment and I’m going to revisit it to cut anything unnecessary, bearing in mind the question, “what is essential to the film?” Anything else can go.

In my post yesterday I suggested I might use random clips in a montage to see if a story emerges. How does this fit with my shooting script? Perhaps it doesn’t. Perhaps they are separate projects. I notice I am more interested in the shooting script at the moment than I am the random montage. When I wake up ideas pop into my head about parts of the script. As I wash up I find myself thinking about it. Is this a good thing? Is it something that is stopping me being present? Another thing my mind can grasp hold of in order to do something? Or be seen to be doing something?

The script has some dialogue about mindfulness. I think that is what captured my attention. Together, the two posts create a resolution. The end is ambiguous but it creates possibilities rather than deflates them. And that’s the reason I was drawn to working with it. So many films about “reality” create a sense of doom and gloom instead of possibility. But then, I guess it depends on the belief system of the viewer as to whether possibility is present.

The subject matter of the script is dark. Childhood abuse. But the relationship between the man and his mother in the present day is the main focus. He holds her responsible for the abuse her boyfriend inflicted on him when he was a child. He wants her to face the things she did and didn’t do. He believes it is the thing that he needs most. The ending is also a beginning. I want to show people who can be emotionally intelligent, which includes times of emotional stupidity, of course, but they are able to recognise these and make amends.

I guess the script is ideological. I have tended to associate that word with propaganda tied to advertisers. This is something I despise because they start from the premise that their potential customers are not okay and need their product to be okay. Is it okay to put forth ideology? I think that depends on the truthfulness of the characters’ actions. I think the script is unintentionally ideological. It depends, I guess, on what actors do with the characters too. Who knows what might happen when it actually comes to shooting it? It is important to me to capture details and use the camera in ways that interest me. I think it might take a while to shoot. My mind’s eye is showing me potential shots that I feel excited about trying out.

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