beats working for a living
;-)
Hey there.
Over the last few years me and the guy I write with have done a hell of a lot of writing. But little else... Now we think we see a definite improvement in our scripts. But as far as actual films go we've got nothing but a pile of half shot and unedited short films and of the few we did finish, we were not exactly impressed by the finished product..
This year we're hoping to change that.
We're planning on making 12 short films this year. One a month.
Wishful thinking? Maybe. But we're gonna give it our best shot.
Now breaking the months into four parts it should work out something like this...
Week 1: Come up with the idea, write the script and begin Pre-Production.
Week 2: Continue and Finish Pre-Production (shot lists, prop lists, shooting schedule)
Week 3: Production. Shoot the script. Get all the raw material we need to assemble the movie.
Week 4: Post Production. Edit sound and picture.
Now we have several short scripts finished already that we plan to make later in the year. So obviously we wont be needing a week to write them and can use that time on another aspect of the film. We will also be plannign ahead for future short fioms in the year at any time we can. We won't always be shooting it ourselves with our own gear and a few friends. Later in the year we hope to shoot with other people and a more experienced crew. But on the whole the above plan is roughly how we hope to spent the next 12 months. We don't expect our shorts to be GREAT. In each new short we make we want to learn something new.
Who knows if we will manage it... This time next year I guess we all will.
If all goes to plan and we make half as many of the films we plan to this year we are thinking of holding a sort of mini film festival here in Manchester and invite other local filmmakers to show their short films and make a bit of an event of it all... It all seems such a long away a way at the moment... But time does fly.
Anyway. I'm posting this here as I thought that some people might find this account of our progress interesting.
Now this thread may die and be gone for days or weeks at a time if we have nothing new to post. But hopefully I will be bringing it back from the dead at least once a month.
I will post stuff about what's happening, scripts, storyboards, photo's, music, trailers and hopefully the finished films... Fingers crossed.
SO IT BEGINS.
MONTH ONE - JANUARY
"SLASHER MOVIE"
Now we were gonna start the year with one of our already completed short film scripts but we recently came across A Short Film Comp asking for short films under ten minutes long and under the heading of "Slasher movie"
We talked through the "Slasher short" idea and came up with KILLER INSTINCT just the other week.
It's about a young man who hears about a local nutter being on the loose and then coming home to find said nutter in his house. It's a pretty simple, generic idea. But we felt we had a few ideas to turn the idea into something interesting.
A few nights ago we talked through the idea and worked out the basic A-B-C's of the script. We got to the point where we were happy and finished a first draft.
For those who are intrested you can read it here.
http://www.geocities.com/despin180/K...firstdraft.htm
So... If you made it through this post, thanks for reading and I hope you stick with us and find what we're trying to do somewhat interesting.
Cheers. Thanks for reading.
Despin out.
beats working for a living
;-)
<font size="2" face="Verdana, Helvetica, sans-serif">Funny, that's what Kevin Smith says... [img]tongue.gif[/img]Originally posted by miker:
beats working for a living
;-)
I've often had this idea, but I find it hard enough getting one film off the ground a year, let alone 12 of them, but props to you for actually going with it. Good luck!
I'm also looking into holding a film festival, although it's really just to pimp our own shit [img]wink.gif[/img] Thinking of informing press and industry types as well, see if we can get some coverage. Of course, if any of this goes ahead, there'll be an open invitation to attend! I'm gonna ring the cinema tomorrow and find out how much it costs...
it sounds like a really cool idea
i would just be worried that if i came up with a really good idea that i wouldn't be able to do it justice with a few weeks work.
It might be interesting - once the 12 films are completed - to remake the best one, or develop the best idea and put more time into it.
good luck with them
Hey there.
Well here's the latest draft of the script. It's still about 6-7 pages long. But there are a few little changes. We still need to change a few things. But this is essentialy what we're prepping to shoot next week.
<BLOCKQUOTE><font size=2 face="Verdana, Helvetica, sans-serif">code:</font><table border="0" width="90%" bgcolor="#333333" cellspacing="1" cellpadding="0"><tr><td width="100%"><table border="0" width="100%" cellspacing="0" cellpadding="2" bgcolor="#FF9900"><tr><td width="100%" bgcolor="#DDDDDD"><pre>EXT. JAMES'S HOUSE - DAY
A detached house at the end of a quiet cul-de-sac, surrounded
by four identical properties. A black car sits out-front.
INT. JAMES'S HOUSE - KITCHEN - DAY
White units. Modern appliances. The window looks out over the
back garden, and beyond the perimeter fence looms a FOREST.
BLOOD
-- dribbles down the face of a side unit. We follow the blood
up onto the counter top where we find a chopping board and --
A BLOODY STEAK
EXT. FOREST - DAY (HANDHELD)
We move forward through SOMEONE'S P.O.V. HEAVY BREATHING
over.
JAMES'S HOUSE - KITCHEN - DAY
Into the kitchen comes JAMES, a fit young man, cleanly shaved
and casually dressed. He spots the blood and sighs.
JAMES
Great.
James clears away the blood with kitchen roll. He takes a
BUTCHERS KNIFE from the rack and prepares the meat; expertly
cutting it into bite size morsels. He flicks on the RADIO:
NEWSCASTER (V.O.)
-- and in other lunch time news,
authorities insist residents of
South-Manchester remain vigilante
after serial murderer Henry Clark
escaped from police custody earlier
this week. Clark -- dubbed the
'Wythenshawe Ripper' by local press
-- escaped during a routine prison
transfer...
James's eyes widen, with either concern or intrigue, as he
listens to the newscaster's words. He clutches the blade as:
EXT. VARIOUS LOCATIONS (ESCAPE MONTAGE)
The P.O.V bursts out the rear doors of a VAN, charging
forward down a suburban street --
NEWSCASTER (V.O.)
Clark gained international
notoriety when he was prosecuted
for the serial murder of seven
children over seven days in the
summer of 1997...
In the rear garden of a house in the suburbs, the P.O.V yanks
clothes from a washing line. (We catch a glimpse of a
recently murdered person on the floor in the back ground) --
NEWSCASTER (V.O.)
Recent advances in DNA technology
allowed detectives to link him to a
further seventeen murders in and
around the Wythenshawe area...
On a quiet street, the P.O.V creeps up behind a YOUNG MAN as
he gets into his car. Suddenly, the P.O.V lunges forward and
ATTACKS THE YOUNG MAN --
NEWSCASTER (V.O.)
Second only to Harold Shipman as
the nations most prolific serial
killer, Henry Clark is considered
extremely dangerous...
EXT. FOREST - DAY (END MONTAGE)
The P.O.V heads through the trees only to come face-to-face
with a fence which backs onto a row of detached houses.
NEWSCASTER (V.O.)
... And residents are urged to
report any suspicious behavior
immediately...
The P.O.V peers over the fence into a rear garden. The
property belongs to James -- WE SEE JAMES IN THE WINDOW.
INT. JAMES'S HOUSE - KITCHEN - DAY
Clutching his knife, James looks out into the garden as the
newscaster continues:
NEWSCASTER (V.O.)
... And lock all doors and windows
until further notice --
James switches off the radio. He stores the meat away in the
fridge and casually returns the knife to the rack.
FOREST - (HANDHELD)
The P.O.V spies over at the window as James appears. We watch
as he fiddles with the lock. Fearing we will be spotted, the
POV drops behind the fence, as --
JAMES'S KITCHEN
James pushes the window firmly and it swings wide open. He
steps back and leaves the kitchen and heads into the --
LIVING ROOM
James unlocks the patio doors and takes a look out into the
back garden. Nothing unusual. He takes a SET OF KEYS from the
coffee table and heads into the --
VESTIBULE
Note: this porch gives access to the front garden, to the
attached garage, and lastly an adjacent SMALL ROOM.
Our shot STOPS at the doorway to the garage while James goes
inside. We hear him unlocking and opening windows. Also the
sound of him putting on a jacket. Him zipping it up.
James emerges wearing said jacket. He finds the appropriate
key for the small room and inserts it in the KEYHOLE --
-- he turns it and the mechanism locks with a satisfying
CLUNK.
James casually pockets the keys and exits the house. Through
the glass front door we see him get into his car. The engine
starts and he drives away.
GARDEN - DAY (HANDHELD)
As if we've just scaled the fence, The P.O.V drops into the
back garden and stalks quickly the open kitchen window...
FADE TO BLACK:
FADE IN WHITE TEXT OVER BLACK:
K I L L E R I N S T I N C T
FADE IN:
EXT. JAMES' HOUSE - NIGHT
A moon hangs overhead as James drives into the cul-de-sac and
on towards his home.
INT. JAMES' HOUSE - BEDROOM - NIGHT (HANDHELD)
From a 1st floor window -- in the INTRUDER'S P.O.V -- we see
James pull into the driveway below.
As James emerges with a sack of potatoes, the P.O.V pulls
back into the interior of the room.
INT. JAMES'S HOUSE - KITCHEN - NIGHT
James comes inside and hauls the heavy sack up onto the
counter top. He considers his next move: tea or toast?
He does neither and goes into the DINNING ROOM where he hangs
his coat on a chair. He leaves his mobile phone on the table.
Note: The dinning room is the central hub of the house. The
lounge and the staircase lead off from it.
James head's into the LOUNGE and flicks on the TV, channel
surfs, beat after a dull day at the office.
CUT TO:
BLACKNESS
...we're in an enclosed space that is totally dark. LABOURED
BREATHING suggests we're also in the intruder'S P.O.V
CUT BACK INTO:
LOUNGE
James drifts off to sleep, snoozing fitfully on the coach.
CUT TO:
BLACKNESS
...Suddenly, the bare bulb overhead POPS into life revealing
our location: we're in the larder under the staircase.
The P.O.V scans a shelf of tinned food. A gloved hand reaches
out and takes a bottle of pasta source, gives it a shake.
CUT BACK INTO:
LOUNGE
A noise from the TV wakes up James. Bored, he flicks off the
TV and heads into the DINNING ROOM and then up the staircase.
ANGLE OVER
As the door to the under-stairs ladder creaks open. In P.O.V
we emerge and move through the dinning room into the kitchen,
up to a drawer. The drawer is opened. A KNIFE is withdrawn.
LANDING
James passes the BATHROOM and two other BEDROOMS before
heading into the MAIN BEDROOM at the end of the landing.
STAIRCASE
Knife in hand, the P.O.V moves slowly upstairs to the
bathroom, peers inside -- just the toilet and basin.
The P.O.V stalks into the FIRST BEDROOM --
A bed and dresser. The P.O.V finds a small TEDDY. He tears it
up in rage, slashing it with his blade.
Interested more in finding James, the P.O.V exits and moves
quietly along the landing into the SECOND ROOM --
Again, a simple room -- but no sign of James. The P.O.V bends
down and picks up a WEREWOLF MASK. It's an odd looking thing:
Rubbery fangs. Fuzzy hair. Pimply snout.
Suddenly, a NOISE from the next-room -- the last remaining
room in the house. The one the Intruder hasn't checked.
Hearing the loud noise, the P.O.V freezes, and turns to the
wall. A heavy BANGING can be heard on the other side.
He doesn't bother trashing or ransacking the mask and goes
back on to:
THE LANDING
And then to the MAIN BEDROOM. A moment later the POV flings
the door open and rushes inside... Nothing but a bed and
fitted cupboards. No sign of James.
The stunned P.O.V takes in the simple bedroom for a few
seconds and then begins to SEARCH it --
We race around, pulling open cupboard doors, rifling through
clothes, yanking off bedsheets. The P.O.V even tries the
windows but they're locked tight. How did he escape?
With no sign of James, the intensity of the search increases
as the POV leaves the main room and heads towards the stairs
when --
RING! RING! RING!
-- we hear the sound of James's mobile phone ringing
downstairs in the kitchen.
The P.O.V rushes down the stairs, through the dining room and
finally, knife raised, into the kitchen.
The phone stops ringing. Suddenly, we hear the sound of a
door slamming shut outside in the VESTIBULE.
The P.O.V heads out of the KITCHEN and into the VESTIBULE.
Here the P.O.V scans the room. It's empty -- everything is
still, except... A large set of keys gently swing from side
to-side in the lock of the "small room".
The P.O.V moves over to the door and reaches out to grab the
handle.
INT. SMALL ROOM - NIGHT (HANDHELD)
The P.O.V enters the darkened room. His hand reaches out for
the light switch, flicks it on -- to reveal the room is
covered in a strange white plastic sheeting. Every wall.
The P.O.V reaches out to touch the plastic when -- THUD --
he's jolted forward, blood splatters onto the wall before
him. The P.O.V stumbles forward, dazed...
Then the P.O.V lurches around to find James, knife in hand,
stood in the doorway. His pupils are dilated. He looks crazy.
Suddenly James lunges forward. There is a RAPID BLUR as James
drives the knife into the P.O.V's chest and out again almost
before we've seen it. It's a frenzied attack -- STABBING and
SLASHING.
Each stab pukes blood onto the white plastic covering the
walls. A few seconds flash by and the walls are blood-red.
The P.O.V angles down at the blood forming on the white
plastic at his feet. The P.O.V then angles back up at James
with an astonished disbelief.
Then in a WILD PAROXYSM the knife blurs continuously slashing
at the P.O.V. The attack is brutal. Twenty stabbings blur by
in an instant. P.O.V tries to fend off the blows --
-- then suddenly the P.O.V falls down to the floor. The
attack fatal. A pool of blood gathers around him. A red sea
forms.
James looms over him, the blood-stained knife in his hand, a
wild look in his eye.
OUTSIDE THE ROOM
Through the open door we see the adjacent walls splashed with
blood. The intruder's lower-legs and boots are there on the
floor. They're pulled out of view, into the room, by James.
A moment later he emerges. His face and upper body splashed
with blood. A train wreck of gore. He takes the keys from his
pocket and casually locks the door.
FADE TO:
EXT. JAMES'S HOUSE - BACKGARDEN - DAY
As if he's just buried something, James pats down a patch of
loose earth at the end of his garden. He rams the spade into
the ground and leaves it standing there like a grave marker.
Tired, James goes over and sits at the patio table. A framed
photograph of a YOUNG GIRL beams back at him. The edges of
the image a dog eared... And dappled with long dried blood.
James takes the photograph and removes the back. He pulls the
image free and flips it over. On the back is a messaged
scrawled in old blood. Black blood. It reads:
S H E I S J U S T T H E S T A R T
James's chin quivers. But he holds firm. He doesn't cry.
FADE TO BLACK.</pre></td></tr></table></td></tr></table></BLOCKQUOTE>
We also made up some fake blood this week. What do you think? Does it look realistic to you guys?
Despin out.
hello
Personally I think Golden Syrup (treacle) with a tiny bit of water in it is better than glucose - its a bit cheaper too - but mostly the same thing....
Plus (how canI tell anyway???) judging by the photos youve put up I think youve watered it down too much.
In my opinion the more gloopy the blood the better. Watered down too much and it looks fake.
Anyway looks pretty good to me.
Best of luck.
<font color="#a62a2a" size="1">[ January 11, 2005 04:49 AM: Message edited by: eidde ]</font>
Are you working full-time at the same time as doing this? It'll be a challenge that's for sure. But good luck with it.
<font color="#a62a2a" size="1">[ January 10, 2005 09:47 AM: Message edited by: Justin M. ]</font>
Hey there.
I'm working part time at the moment with pretty flexable hours.
Anyway...
I just picked up two cool little handheld fog machines. Should work great for adding a little atmosphere to the last few shots of the films. I'm going to do some tests later today when it gets dark and let you guys see the results.
Despin out.
Hey there.
Well this is the final draft. We're going to get it in the time frame we gave ourselves.
We're going to start shooting this on Monday. Wish us luck.
Let us know what you think.
<BLOCKQUOTE><font size=2 face="Verdana, Helvetica, sans-serif">code:</font><table border="0" width="90%" bgcolor="#333333" cellspacing="1" cellpadding="0"><tr><td width="100%"><table border="0" width="100%" cellspacing="0" cellpadding="2" bgcolor="#FF9900"><tr><td width="100%" bgcolor="#DDDDDD"><pre>EXT. JAMES'S HOUSE - DAY
A detached house at the end of a quiet cul-de-sac, surrounded
by four identical properties. A black car sits out-front.
INT. JAMES'S HOUSE - KITCHEN - DAY
White units. Modern appliances. The window looks out over the
back garden, and beyond the perimeter fence looms a FOREST.
BLOOD
-- dribbles down the face of a side unit and forms a pool on
the tiled floor. We follow the trail of blood back up onto
the counter top where we find a chopping board and --
A BLOODY STEAK
EXT. FOREST - DAY (HANDHELD)
We move forward through SOMEONE'S P.O.V. HEAVY BREATHING
over.
JAMES'S HOUSE - KITCHEN - DAY
Into the kitchen comes JAMES, a fit young man, cleanly shaved
and casually dressed. He spots the blood and sighs.
JAMES
Great.
James clears away the blood with kitchen roll. He takes a
BUTCHERS KNIFE from the rack and prepares the meat; expertly
cutting it into bite size morsels. He flicks on the RADIO:
NEWSCASTER (V.O.)
-- and finally, authorities insist
residents of South-Manchester
remain vigilante today after the
escape of serial murderer Henry
Clark earlier this week. Clark --
dubbed the 'Wythenshawe Ripper' by
local press -- escaped during a
routine prison transfer...
James's eyes widen, with either concern or intrigue, as he
listens to the newscaster's words. He clutches the blade as:
EXT. VARIOUS LOCATIONS (ESCAPE MONTAGE)
The P.O.V bursts out the rear doors of a VAN, charging
forward down a suburban street --
NEWSCASTER (V.O.)
Clark gained international
notoriety when he was prosecuted
for the serial murder of seven
families over seven days in the
summer of 1997...
In the rear garden of a house in the suburbs, the P.O.V yanks
clothes from a washing line. (We catch a glimpse of a
recently murdered person on the floor in the back ground) --
NEWSCASTER (V.O.)
Recent advances in DNA technology
allowed detectives to link him to a
further seventeen murders in and
around the Wythenshawe area...
On a quiet street, the P.O.V creeps up behind a YOUNG MAN as
he gets into his car. Suddenly, the P.O.V lunges forward and
ATTACKS THE YOUNG MAN --
NEWSCASTER (V.O.)
Second only to Harold Shipman as
the nations most prolific serial
killer, Henry Clark is considered
extremely dangerous...
EXT. FOREST - DAY (END MONTAGE)
The P.O.V heads through the trees only to come face-to-face
with a fence which backs onto a row of detached houses.
NEWSCASTER (V.O.)
... And residents are urged to
report any suspicious behavior
immediately...
The P.O.V peers over the fence into a rear garden. The
property belongs to James -- WE SEE JAMES IN THE WINDOW.
INT. JAMES'S HOUSE - KITCHEN - DAY
Clutching his knife, James looks out into the garden as the
newscaster continues:
NEWSCASTER (V.O.)
... And lock all doors and windows
until further notice --
James switches off the radio. He stores the meat away in the
fridge, rinses the blade under the hot water tap and casually
returns the knife to the rack.
FOREST - (HANDHELD)
The P.O.V spies at the window as James appears. We watch as
he fiddles with the lock. The P.O.V drops behind the fence,
as --
JAMES'S KITCHEN
James pushes the window firmly and it swings wide open. He
steps back and leaves the kitchen and heads into the --
LIVING ROOM
James comes inside... And pauses to consider a framed image
on the windowsill.
The photograph is tatty -- contrasting with the new-looking
frame -- but the young mother and daughter in the picture
look happy and free. A cherished image for sure.
James takes the photograph. He swallows uncomfortably and
takes a moment to compose himself; the image stirring up many
memories. Some good. Some bad. James returns the photograph
to the windowsill, only this time face-down.
James then goes over and unlocks the patio doors and takes a
look out into the back garden. Nothing unusual. He takes a
SET OF KEYS from the coffee table and heads into the --
VESTIBULE
Note: this porch gives access to the front garden, to the
attached garage, and lastly an adjacent SMALL ROOM.
Our shot STOPS at the doorway to the garage while James goes
inside. We hear James unlocking and opening windows. Also the
sound of him putting on a jacket. Him zipping it up.
James emerges wearing said jacket. He finds the appropriate
key for the small room and inserts it in the KEYHOLE --
-- he turns it and the mechanism locks with a satisfying
CLUNK.
James casually pockets the keys and exits the house. Through
the glass front door we see him get into his car. The engine
starts and he drives away.
GARDEN - DAY (HANDHELD)
As if we've just scaled the fence, The P.O.V drops into the
back garden and stalks quickly to the open kitchen window...
FADE TO BLACK:
FADE IN WHITE TEXT OVER BLACK:
K I L L E R I N S T I N C T
FADE IN:
EXT. JAMES' HOUSE - NIGHT
A full moon hangs overhead as James drives into the cul-de
sac and on towards his home.
INT. JAMES' HOUSE - BEDROOM - NIGHT (HANDHELD)
From a 1st floor window -- in the INTRUDER'S P.O.V -- we see
James pull into the driveway below.
As James emerges with a sack of potatoes, the P.O.V pulls
back into the interior of the room.
INT. JAMES'S HOUSE - KITCHEN - NIGHT
James comes inside and hauls the heavy sack up onto the
counter top. He considers his next move: tea or toast?
He does neither and goes into the DINNING ROOM where he hangs
his coat on a chair. He leaves his mobile phone on the table.
Note: The dinning room is the central hub of the house. The
lounge and the staircase lead off from it.
Beat, James comes into the LOUNGE and flicks on the TV. James
channel surfs.
CUT TO:
BLACKNESS
...we're in an enclosed space that is totally dark. LABOURED
BREATHING suggests we're also in the intruder'S P.O.V
CUT BACK INTO:
LOUNGE
James drifts off to sleep, snoozing fitfully on the coach.
CUT TO:
BLACKNESS
...Suddenly, the bare bulb overhead POPS into life revealing
our location: we're in the larder under the staircase.
The P.O.V scans a shelf of tinned food. A gloved hand reaches
out and takes a bottle of pasta source, gives it a shake.
CUT BACK INTO:
LOUNGE
A noise from the TV wakes up James. Bored, he flicks off the
TV and heads into the DINNING ROOM and then up the staircase.
ANGLE OVER
As the door to the under-stairs ladder creaks open. In P.O.V
we emerge and move through the dinning room into the kitchen,
up to a drawer. The drawer is opened. A KNIFE is withdrawn.
LANDING
James passes the BATHROOM and two other BEDROOMS before
heading into the MAIN BEDROOM at the end of the landing.
STAIRCASE
Knife in hand, the P.O.V moves slowly upstairs to the
bathroom, peers inside -- empty, just the toilet and basin.
The P.O.V stalks into the FIRST BEDROOM --
The furniture (bed and dresser) sit under dust sheets. The
room hasn't been touched in ages. P.O.V finds a small, cute
TEDDY. He tears it up in rage, slashing it with his blade.
The P.O.V exits and moves quietly along the landing into the
SECOND ROOM --
Again, dust covers everything. And no sign of James. The
P.O.V bends down and picks up a WEREWOLF MASK. It's an odd
looking thing: Rubbery fangs. Fuzzy hair. Pimply snout.
Suddenly, a NOISE from the next-room -- the last remaining
room in the house. The one the Intruder hasn't checked.
Hearing the loud noise, the P.O.V freezes, and turns to the
wall. A heavy BANGING can be heard on the other side.
He doesn't bother trashing or ransacking the mask and goes
back on to:
THE LANDING
And then to the MAIN BEDROOM. A moment later the P.O.V flings
the door open and rushes inside... Nothing but a bed and
fitted cupboards. No sign of James.
The stunned P.O.V takes in the simple bedroom for a few
seconds and then begins to SEARCH it --
We race around, pulling open cupboard doors, rifling through
clothes, yanking off bedsheets. The P.O.V even tries the
windows but they're locked tight. How did he escape?
With no sign of James, the intensity of the search increases
as the P.O.V leaves the main room and heads towards the
stairs when --
RING! RING! RING!
-- we hear the sound of James's mobile phone ringing
downstairs in the kitchen.
The P.O.V rushes down the stairs, through the dining room and
finally, knife raised, into the kitchen.
The phone stops ringing. Suddenly, we hear the sound of a
door slamming shut outside in the VESTIBULE.
The P.O.V heads out of the KITCHEN and into the VESTIBULE.
The P.O.V scans the room. It's empty -- everything is still,
except... A large set of keys gently swing from side-to-side
in the lock of the "small room".
The P.O.V moves over to the door and reaches out to grab the
handle.
INT. SMALL ROOM - NIGHT (HANDHELD)
The P.O.V enters the darkened room. His hand reaches out for
the light switch, flicks it on -- to reveal the room is
completely decked out in white plastic sheeting.
The P.O.V reaches out to touch the plastic when -- THUD --
he's jolted forward, blood splatters onto the wall before
him. The P.O.V stumbles forward, dazed...
Then the P.O.V lurches around to find James, knife in hand,
stood in the doorway. His pupils are dilated. He looks crazy.
Suddenly James lunges forward. There is a RAPID BLUR as James
drives the knife into the P.O.V's chest and out again almost
before we've seen it. It's a frenzied attack -- STABBING and
SLASHING.
Each stab pukes blood onto the white plastic covering the
walls. A few seconds flash by and the walls are blood-red.
The P.O.V angles down at the pool of blood forming at his
feet. The P.O.V then angles back up at James with an
astonished disbelief.
Then in a WILD PAROXYSM the knife blurs continuously slashing
at the P.O.V. The attack is brutal. Twenty stabbings blur by
in an instant. P.O.V tries to fend off the blows --
-- then suddenly the P.O.V falls down to the floor. The
attack fatal. A pool of blood gathers around him. A red sea
forms.
James looms over him, the blood-stained knife in his hand, a
wild look in his eye.
OUTSIDE THE ROOM
Through the open door we see the adjacent walls splashed with
blood. The intruder's lower-legs and boots are there on the
floor. They're pulled out of view, into the room, by James.
A moment later he emerges. His face and upper body splashed
with blood. A train wreck of gore. He takes the keys from his
pocket and casually locks the door.
FADE TO:
EXT. JAMES'S HOUSE - BACK GARDEN - NIGHT
Security lights illuminate the garden and highlight a low
lying mist. JAMES, shovel in hand, pats down a patch of loose
earth by the compost heap. He rams the spade into the ground
and leaves it standing there like a grave marker.
FADE TO BLACK.
INT. JAMES'S HOUSE - DINNING ROOM - NIGHT
A plate of freshly cooked steak and potatoes sits on the
dinning room table. James, clean and showered, takes a seat.
Beside the plate is the framed photograph of the Mother and
daughter. The image is dirty and dog eared, and on closer
inspection... Dappled with long dried blood.
James takes the photograph and removes the back. He pulls the
image free and flips it over. On the back is a message
scrawled in old blood. Black blood. It reads:
T H E Y A R E J U S T T H E S T A R T
James's chin quivers. But he holds firm. He doesn't cry. He
turns the photo over and looks at the family. His family. He
smiles and puts it back into the frame. He places the picture
back onto the table. He sits back and starts to eat the meal.
FADE TO BLACK.</pre></td></tr></table></td></tr></table></BLOCKQUOTE>
Despin out.
Hey there.
Give or take a handfull of shots that we're going to pick up tomorow, we got the short shot over four days last week. Despite the change in weather (first days it snowed, second it was raining all day, third it was windy as hell, Everything went well. We got pretty much everything we wanted... Everything except one tiny little thing... SOUND.
There was some building work going on next door to our location.. So we decided not to use any of the sound we got on the day... Now, in the middle of editing we're only starting to realise what a task it's going to be to redub the entire movie. The only saving grace being the short has no onscreen dialog. But still.. There are a lot of sounds we need and it's gonna be one hell of a task to get it to sound anywhere near good.
Then there is the music... We have no clue how we're going to do this. I play a little guitar, but dont have a clue about keyboards.. And those are the two instruments we have. Hopefully wonce we have them connected to the pc we will be able to come up with something.
Anyway.. Just thought I would do a little update here and post a few screengrabs.
Now these are just grabs from the raw footage with just a rough matt on them. They are going to be colour corrected and adjusted slightly in the finished thing.
Anyway. Enough of the waffle. Here are the grabs.
Despin out.
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