Little Brother: Schedule/Shot Composition/Casting

Shoot Schedule:

Saturday January 10th

Sunday January 11th

Shot List + Location:

Location: Michela’s House

Shot 1: Tyler walks up to door of the house

Shot 2: The shot of a fist hitting the door

Shot 3: POV Shot from Tyler’s perspective  with Jamie opening the door and holding a phone and talking begins the dialogue.

Shot 4 Following shot of Tyler walking into the house and closing the door behind him and watching Jamie walk off.

Shot 5 Jamie in an open shot in the living room slowly pacing

Shot 6 Following Tyler walking, looking around and then Kyle is in the shot

Shot 7 Over the shoulder shot of Kyle looking into Tyler’s eyes

Shot 8 Close up shot of Kyle doing “i’m watching you”

Shot 9 Jamie finishing up the conversation and walking out of the room.

Shot 10 Tyler standing in the Foyer and pull focus as Jamie walks into the room.

Shot 11 Two table shot with Kyle in the middle

Shot 12-20 Over the shoulder shot and two Table shots will switch back and forth during the dinner for most of the last shots

Shot 21: Follow shot of Tyler leaving the room

Casting:

Michaela Bennick as Jamie

Diego Fernandez as Tyler

Gus’s Brother as Kyle

Little Brother: Moodboard

Scene Name: Little Brother

Moodboard:

Little Brother: Script

Script:

​EXPOSITION

It's 2:00 on a Friday afternoon at Jamie's house, Tyler is at the door Jamie's house. General greeting starts.

JAMIE: JUNIOR IN HIGH SCHOOL, JEANS, LONG SLEEVE SHIRT, NO SHOES

TYLER: JUNIOR IN HIGH SCHOOL, JEANS, T-SHIRT, TENNIS SHOES, JACKET

KYLE: 5TH GRADER, PLAID SHORTS, T-SHIRT,  HEELYS/LIGHT UP SKETCHERS

JAMIE'S HOUSE

Following shot of Tyler walking up to Jamie's door. Jamie opens the door for him while on the phone and motions for him to come in.

JAMIE: Yea Mom?​

Tyler walks in and stands around and waves and Jamie waves back but continues walking into the next room talking.​

JAMIE: What? I don’t want to deal with Kyle. We had this all planned out! Ugh you are ruining my date.

Jamie continues pacing in the living room and Tyler starts looking at the pictures and displays. Tyler explores around the foyer of the house in multiple shots then finds Kyle. Kyle stares at him for a while and does the “I’m watching you” gesture to Tyler.

Shot back to Jamie talking on the phone

JAMIE: Alright, Alright Mom, I’ll take care of Kyle. Jeez.

Jamie rolls her eyes after hanging up the phone. Tyler walks in a bit stricken after the confrontation of the little brother.

TYLER: Um...what’s going on?

JAMIE: (sarcasm) Wonderful news, my mom just stuck me with my brother Kyle. We’ll have to eat here I guess? I’m so sorry. (looks over to Kyle playing)

Shot cuts to Kyle playing with random things looking very happy.

TYLER: Don’t worry about it! I’m real good with kids.

JAMIE: Really? Cause Kyle can be…a little obnoxious at times.

Kyle bobs his head back and forth a lot to look at Kyle in the other room.

TYLER: It shouldn’t be too bad, I’ve worked with a bunch of kids who were much worse than him, and they warmed up to me pretty quick.

Cut to Tyler and Jamie eating across from one another and Kyle sitting up in between them.

TYLER: So.. Jamie I like the spaghetti you cooked.

JAMIE: Best I could do on short notice, thank you!

Shots of eating and then Tyler glances to Kyle

Kyle seems content eating and speaks up

KYLE: Can we go out and play at the park sissy?

JAMIE: (irritated) Not now Kyle. Me and Tyler here are in the middle of something.

KYLE: Okay! We can go tomorrow.

Jamie gives a surprised look as Kyle continues eating.

TYLER: Jamie so- (interrupted by a phone ringing)

Jamie gets out of her seat and moves from the table, pulls phone from her pocket out and looks down and looks up

JAMIE: Sorry, it’s my mom. She wants to check how we’re doing.

Jamie gets up and walks out of the room and Tyler and Kyle are sitting eating dinner.

TYLER: Hey Kyle can you pass the salt over here?

KYLE: (nonchalantly continues eating) Nope.

TYLER: (still content) That’s not that nice! (smiles and reaches for the salt and Kyle swiftly hits the salt off the table)

KYLE: (laughs) Oops! Someone made a mess. (looks sinisterly in his eyes)

Kyle quickly goes back to eating spaghetti. Jamie runs quickly back into the room.

JAMIE: (to the phone) Nothing, that was just the neighbor’s dog outside. (glares at Tyler)

Jamie walks out of the room again back in conversation

TYLER: (pulls hand back) What was that for?

KYLE: I won’t get to go to the park! (mutters) Thanks a lot, jerk.

TYLER: What?! Okay cmon man I’ll take you to the park next time I see your sister.

KYLE: I don’t want you to take me anyway, I don’t want you to keep dating my sister!

Kyle grabs Tyler by the hair and bangs his nose against the table, giving Tyler a bloody nose.

TYLER: Ow! (clutches nose) What the hell, dude?

KYLE: You really shouldn’t cuss like that, though.

JAMIE: (on phone in other room) Alright mom…thanks...bye.

Jamie hangs up phone, but overhears Tyler complaining to Kyle. Walks back into room, sees Tyler with bloody nose.

(beat)

JAMIE: (concerned) can I…help out with anything?

TYLER: Nahh it’s okay (beat) do you know where the bathroom is?

KYLE: Down the hall, to the right. Sorry about that nose, buddy.

Kyle pats Tylers back and gives him a brief look. Tyler looks back, upset, as he out of the dining room. Jamie gives another shocked look, not expecting Kyle to act so polite.

KYLE: This spaghetti is great, Jamie! Thanks so much!

JAMIE: Nono, thank you! You’ve been so helpful today! What’s gotten into you all of a sudden?

KYLE: Just in a good mood, unlike your rude date…

JAMIE: What do you mean? What was that about anyway?

KYLE: He’s really clumsy, and just cussed in front of me for no reason. And he gets bloody noses out of nowhere too!

JAMIE: (unsure) are you sure you didn’t set that up while I was gone?

KYLE: Nahh, I don’t feel very grumpy today, but he did tell me that I won’t get to go to the park if I get in his way with you.

JAMIE: Normally I wouldn’t trust you with this, but I’ll take your word since you’ve been so nice today.

Jamie’s phone rings again, this time it’s her friend, Stacy.

JAMIE: Ugh! It’s Stacy, sorry Kyle.

Jamie leaves the room just as Tyler enters, they bump into each other at the door. Both have a brief uncomfortable exchange. Tyler goes back to sitting in his seat.

TYLER: Okay let me try to make amends here.

KYLE: (mockingly) Okay let me try to make amends here. That’s what you sound like

TYLER: Stop that!

KYLE: (mockingly again) Stop that!

TYLER: Why you little (stops mid sentence as Jamie walks into the room) great, wonderful kid!

KYLE: (smiling smugly finishes off the food) Get me more food Tyler!

Jamie walks back into the room with phone in hand

TYLER: Try mocking this: “I’m Kyle and I’m a terrible little brother who wants to ruin lives!”

Kyle eyes him briefly.

KYLE: (beat) Try mocking this: (says various obscenities for several seconds that get censored)

Tyler looks horrified.

TYLER: Where did you learn that language? And you complain about me saying hell?

Meanwhile in the hallway with Jamie…

JAMIE: What have you heard? That’s crazy! (walks through to the living room and as she leaves the room Tyler turns quickly back to Kyle)

TYLER: (mocking Kyle mocking him) Waaaah waaah I’m Jamie’s little brother and I can mess with her boyfriend whenever I want because I’m a brat who didn’t get to go to the park!

KYLE: Oh yeah? Jamie!

Kyle continues to call for Jamie to come back.

TYLER: Oh my God. Get over here!

Tyler attempts to strangle Kyle to prevent him from talking. Meanwhile, Jamie talks to her friend.

Jamie: (on the phone) No (beat) no we haven’t done...anything together. My little brother is around so-

Jamie overhears Kyle calling wildly for her.

JAMIE: Ugh, gimme a minute.

Jamie hangs up phone, opens the door as she asks what’s going on.

JAMIE: Why are you guys so freaking lou-

Jamie sees Tyler puting Kyle in a chokehold like position.

TYLER: Hey uhhh...Jamie (beat) the spaghetti was really good?

Cuts to shot of Tyler getting shooed outside the house by Jamie then walking past the camera.

JAMIE: Get out. Get out. Get out. (pushes him and slams door)

Tyler gets frustrated and kicks (something) over, yelling.

He gets into his car and prepares to drive of. Looks to his passenger seat and sees Kyle waiting for him with a malicious grin.

Cuts to black with sound of Tyler screaming.

END OF SCENE

Meet-Cute Post

I'm proposing a film that involves a girl's younger brother "third wheeling" a date between her and her boyfriend, and how the boyfriend turns out to be just like her little brother. I could see the Meet/Cute occurrence happening during the middle of the film, after the girl (Jamie) accepts the fact that her boyfriend (Eric) can be a little immature sometimes, and they attempt to have an intimate moment, only for her brother (Tyler) to jump in between their heads to stick his tongue out and make an obnoxious noise. Eric would laugh out loud in the movie theater. I would let the Meet/Cute scene build up to seem like it could lead to a romantic moment, only to have it 180 due to her brother.

Production Cycle for "End of an Era"

Scriptwriting:While there was no apparent script or type of dialogue with our piece, we did follow a form of separation of narrative from visual representation as the reader explained. Due to our piece being based on a musical composition, the narrative pieces of the film were meant to line up with the changes in tone of the music. Each action and part of the story (from the setup to climax) was matches by an either upbeat or dramatic portion of the soundtrack.

Production Design:
A majority of the production and "where" and "how of the shots were thought of as we were filming. We had an idea of where we would shoot (down at the Waterfront, the Bridge, etc) but how each show was composed was determined depending on the conditions of the scene at the time. One thing we did keep in mind involving the shot schedule was when during the day we took each shot. As we shot on a clear day when there was only minimal hours of daylight in the time we could spend downtown, we tried to do shots that didn't require sunlight (or where you couldn't immediately determine the time of the day) later in the day. Aside from that and maintaining continuity through having our actors wear the same clothes, there wasn't a large amount of foresight involving most of our visual representation.

Script Analysis:
We had an entire shot list devised, as that was instrumental in having each piece of film fit the duration of the song. This was applied not only in shot composition, but also in the context of the script. The position of the camera and type of shot was reworked during shooting many times, but for most of them the actors and directors were on the same page with how each piece of the script would be applied in shots. The choice of open/closed/medium shot depended on what we could see upon shooting.

Cinematography:
As said before, each shot was written out prior and read between each member of the project in the class. This did not prevent us from adjusting shots during the filming process. Three members of the group at a time would handle filming each scene, although the amount of time spent between each member filming wasn't the most balanced, there was a strong sense of communication between all of us in what we were shooting. One graphic shown in the reader demonstrated the body position in comparison to the variants of open/closed/medium shots. While we did not follow this precisely, we were in the ballpark when shooting both open and closed shots.

Rehearsal: 
Considering that our actors had very little experiene in the field, we found it important to rehearse a couple scenes during filming. Yet because of our lack of dialogue, we didn't spend a large amount of time practicing scenes outside of the ones that had direct interaction between Sam and Nora. We left it to shooting a scene multiple times and choosing one of each part of the film that felt most dramatic or tense.

The goal for this project was to create a dramatic narrative not only filmed and edited, but scripted by ourselves. Using film techniques that we've learned over the first semester 

My idea for the topic of my film came to me rather quickly, but left a lot of wholes in what exactly the conflict was for the film. Thankfully my script critique with Nance helped me sort through what didn't need to be added to my film and made the focus of my script less broad, despite the fact that I decided to keep with not having actual dialogue for my piece.

Although editing is generally my forte, I'd be lying to say to say this wasn't the most difficult film I've had to try and edit, due to the numerous amounts of text clips that I've had to use for a short period of time. I was basically projecting my text on screen to demonstrate the Skype conversation going on in the story. This extended the editing process (and also excluding the original shots) and editing take nearly forever.

I'm proud that I at least attempted to make an entirely visually represented film and tried to go the extra mile with having text displayed on-screen.

I would try to flesh out the characters that were actually filmed better (in this case, Charlie and Alan). Due to the text appearing the same time as their acting, it left a lot of people distracted and not paying attention to what they were doing, I hope I can introduce them and other visual representations in a less jarring way.

*New* Storyboard:

Script for Dramatic Scene

Message Board - Scene 1

(DAVID IS WALKING HOME FROM SCHOOL, ARRIVES AND OPENS THE DOOR TO HIS HOUSE. HE WALKS IN, IMMEDIATELY DROPPING HIS BAGS AND REACHING FOR THE LAPTOP IN HIS COMPUTER BAG. HE PULLS IT OUT AND GETS ONTO SKYPE)

DAVID

So I'm guessing everyone is here?

ERIN

Seems like it.

CHASE

We're missing Charlie, I think.

KRIS

You all heard what Alan told Charlie earlier today right?

SAMANTHA

It's awful, he kicked him out a building after he chose to hang out with us, all because we "betrayed" him.

KRIS

To quote what he said, "It's not like it used to be, the whole reason you're dropping out to be with your friends is to not be apart of our group.

SAMANTHA

The hell wrong with him?

CHASE

Charlie's a nice guy too, he just wants to still be friends with everyone. Why does Alan need to lash out at him because he cared about both us and him?

CHARLIE

Guys...it's fine, really.

LAURA

You ok?

CHARLIE

Yeah, what happened with him is over. I'm not upset or anything now.

KRIS

Good to hear.

DAVID

The only reason I want to talk about this now is because I'm wondering if it was right to just suddenly have all of us abandon him.

CHASE

We did sorta drop out all at once...

ERIN

Do none of you guys remember? Kris told him we were all gonna be leaving last week. We even offered him to join a new club since everything he had built was falling apart.

KRIS

Yeah, I did sorta break that to him. Wasn't easy, but he handled it well at the time.

CHASE

and now he's suddenly lashing out.

CHARLIE

He wanted to make a club we made as friends into a business. A screwed up business that he enforced on everyone but didn't follow through on. Wasn't it you who said that, David?

DAVID

I just...ugh, Christ.

KRIS

He said some deep things after you told him that, he said you were like a brother.

LAURA

I didn't think that you two ran that deep.

ERIN

Yet it's only been 2 years...

LAURA

You seems to be handling the whole thing pretty well, David.

David pacing around room, playing with random things/trying to distract himself as Kris, Laura, and Erin mention past friendship with Alan.

DAVID

That's because it's all guilt tripping, he says this just to try to win us back. He's an expert at this. All those passive aggressive comments aren't gonna win me over. They aren't gonna help him get away with mistreating any of you.

CHARLIE

Ight, just....just chill.

CHASE

We're you just saying it was our fault for being so sudden? Make up your mind dude.

ERIN

Chase...

DAVID

I think everyone needs to get off each other's asses over this. It's too late to mend things and no real point arguing with each other.

LAURA

Who's gonna take charge now...

(A long pause)

KRIS

I'm busy anyways, we have time to sort this out.

SAMANTHA

Tomorrow?

KRIS

Tomorrow.

DAVID

I'm not even sure how much I care now.

CHARLIE

I have work anyways, later guys.

CHASE

Me too, I'm out.

ERIN

See ya.

LAURA

Bye.

The rest close their laptops, leaving just David looking at his screen for a couple seconds, before closing his laptop too.

SCENE END

Treatment Form:

Working Title: Message Board

Central Character: David

Central Character’s Dominant Need: Solve conflict with former friend and counsel his other friends (messaging over Skype) 

Other Major Characters: Charlie, Chase, Kris, Erin, Samantha, Yvonne,
Alan (mentioned)

Settings: In different people’s rooms/walking home from school

Occasion / Event: Group of friends talking in Skype group chat

Major Conflict / Dilemma as it appears in ACTION: Devising how to deal with Alan

Resolution: N/A

How Central Character changes by the end: Realizes he can't reason with his friend and abandons him for his other friends.

Visual Treatment:

• Color Choices for Filming
• Warm
• Cool
• Vibrant
• Black & white

Lighting Choices

• Dramatic
• Natural
• Dark
• Bright
• Other

SubGenre

• Horror
• Slasher
• Thriller
• Suspense
• B-Movie

Conventions of Horror to be used (descriptive statement):

Costumes

Normal Clothes (Jeans, shirts, shorts, etc)

Props:
Computers, Skype app, maybe a toy or two

Locations:

Different houses/areas with desktops or laptops