Wednesday, December 14, 2011
concept 40
2. The unrealized potential i see in a person that is close to me is that he wants me to do well in school but he doesn't show it because he is more overprotective of me going out and dating. But he also asks me about how i'm a doing in school and everything but tries to protect me more.
Tuesday, December 13, 2011
concept 39 #1-3
1. What i'm most afraid of is death. If my uncle would've fainted and I'm the only one around to save him I would have to do it and face my fear.
2. A social situation where I am nervous is expressing my feelings to a guy I like because I don't know if he feels the same way about me and if he doesn't I'm going to feel ridiculous.
3.the hero in my film is afraid of letting down the people that count on him.
2. A social situation where I am nervous is expressing my feelings to a guy I like because I don't know if he feels the same way about me and if he doesn't I'm going to feel ridiculous.
3.the hero in my film is afraid of letting down the people that count on him.
Monday, December 12, 2011
concept 38 #1 and #3
1. My mom wanted to make a surprise birthday party for my dad but my dad didn't want one and got upset at my mom for buying so many decorations. I felt really bad because my mom wanted to do something nice for my dad but he didn't appreciate it. My mom stood up for herself and yelled at my dad that the only thing she wanted was to see him happy.
3. character traits of my hero and a villain
Hero Villain
focused many evil ideas
brave selfish
honor madness
3. character traits of my hero and a villain
Hero Villain
focused many evil ideas
brave selfish
honor madness
Friday, December 9, 2011
concept 37 #1 and #3
1. The three films with endings that blew me away are Titanic, Fast Five and The twilight New Moon.
The writers stayed with one story then jumped to another all of sudden leaving the audience wanting to know whats going to happen next.
3.The best trick I pulled on someone was when I bought my younger brother a bicycle for christmas last year. He has been asking me to buy him one but I kept telling him that I already bought him a gift for christmas but that it wasn't a bike. One day I came home with a bike that my younger brother really wanted when he saw it when we went to the store. I told him that it wasn't for him that it was for our younger cousin because he's been wanting one too. He got really sad. On christmas, while he was opening his other presents, I gave him his present which was the bike. He saw the big box and started opening it and when he saw the picture of the bike he cried tears of joy. He told me that I tricked him and I said that I did because I wanted it to be a great surprise.
The writers stayed with one story then jumped to another all of sudden leaving the audience wanting to know whats going to happen next.
3.The best trick I pulled on someone was when I bought my younger brother a bicycle for christmas last year. He has been asking me to buy him one but I kept telling him that I already bought him a gift for christmas but that it wasn't a bike. One day I came home with a bike that my younger brother really wanted when he saw it when we went to the store. I told him that it wasn't for him that it was for our younger cousin because he's been wanting one too. He got really sad. On christmas, while he was opening his other presents, I gave him his present which was the bike. He saw the big box and started opening it and when he saw the picture of the bike he cried tears of joy. He told me that I tricked him and I said that I did because I wanted it to be a great surprise.
Wednesday, December 7, 2011
concept 35
1. I haven't seen any of them. Sorry.
2.none
3. The last time I took a risk to gain something was about a year ago. It was something for me and the other person. The consequences of not taking the risk was not ever talking again to my cousin who was always there for me. The final outcome was that i talked to my cousin about what we were mad at and honestly it was something ridiculous, but we talked it through and we made a promise to never talk about the situation again and to forget what happened and that nothing can get in between our relationship. I was really satisfied with the results because me and my cousin are best friends now and I was glad to step up and clear our problems.
2.none
3. The last time I took a risk to gain something was about a year ago. It was something for me and the other person. The consequences of not taking the risk was not ever talking again to my cousin who was always there for me. The final outcome was that i talked to my cousin about what we were mad at and honestly it was something ridiculous, but we talked it through and we made a promise to never talk about the situation again and to forget what happened and that nothing can get in between our relationship. I was really satisfied with the results because me and my cousin are best friends now and I was glad to step up and clear our problems.
Tuesday, December 6, 2011
Quick write
Vantage point
Citizen Kane
Run Lola Run
Each movie has different multiple perspectives and different ways of solving problems. They're either flash forwards or flash backs.
Citizen Kane
Run Lola Run
Each movie has different multiple perspectives and different ways of solving problems. They're either flash forwards or flash backs.
Monday, December 5, 2011
concept 34
1. Batman, Hulk, Odyssey
Batman defeats his enemy by using his intelligence and some help from his partner.
Hulk fights his enemy by trying not to get to angry and by calming himself down.
Odyssey of the Mind defeats its enemy by a group of team members to solve a long term problem.
Batman defeats his enemy by using his intelligence and some help from his partner.
Hulk fights his enemy by trying not to get to angry and by calming himself down.
Odyssey of the Mind defeats its enemy by a group of team members to solve a long term problem.
Friday, December 2, 2011
film structure
the structure was very confusing to me i didn't understand the movie.
I think the story would have worked better told chronologically.
I understand memento better than this. Memento was just flash backs and flash forwards but Structure of Eternal sunshine of the Spotless Mind was like all over the place and i didn't understand it.
I think the story would have worked better told chronologically.
I understand memento better than this. Memento was just flash backs and flash forwards but Structure of Eternal sunshine of the Spotless Mind was like all over the place and i didn't understand it.
Concept 33
1. No, no stranger has done anything for me that caused me to do something nice for someone else, but I don't need some stranger to do something for me to cause me to help someone else. I help anyone who has fallen or just need help in general.
Thursday, December 1, 2011
concept 32
2. Van Helsing is a movie that the central conflict is mostly about nature because the vampires can't go out in day light.They have to wait until the sun goes down. Also the man turns into a ware wolf when there is a full moon but when there isn't he is a human. So basically this movie changes depending on nature.
Wednesday, November 30, 2011
concept 31 #1 #2 #3
1. Three recent movies I've seen were ratatouille, resident evil apocalypse and star ship troopers.
2. It would change my life knowing that the people that were teasing will regret it. the student will have to live with what they did to him.
3. the inciting incident in the film i want to write will be that the girl is still going to school even though she is pregnant but the months have been really hard for her. Other girls call her names and tease her because she is pregnant.
2. It would change my life knowing that the people that were teasing will regret it. the student will have to live with what they did to him.
3. the inciting incident in the film i want to write will be that the girl is still going to school even though she is pregnant but the months have been really hard for her. Other girls call her names and tease her because she is pregnant.
concept 30 #1 #2 #3
1. "A" line for Kelly..wants to be popular at her school.
"B" line for Kelly..might not be because of her geeky cousin.
"A" line for mom..invites geeky cousin home.
"B" line for mom..doesn't think Kelly needs to be popular.
"A" line for cousin..spends the summer at Kelly's house.
"B" line for cousin..might feel like a distraction to Kelly and her friends.
2. I would make the story a win/win by Kelly hanging out with her cousin instead of her friends.
I would make the story a no win/no win by Kelly's cousin deciding to leave because she found out that Kelly didn't want her to spend the summer at her house because of her friends.
I would make the no win/ win by Kelly's friends being friends with the cousin, and the friends noticed that Kelly didn't want the cousin to be there. So the friends didn't think Kelly was cool because she wanted to get rid of her cousin.
3. In the story I want to write the "A" objective will be that this girl ends up pregnant and her boyfriend
will stand up and take care of the baby but the parents don't approve of it.
The "B" objective will be that the boy and the girl will convince their parents to accept their relationship and the baby she is expecting.
"B" line for Kelly..might not be because of her geeky cousin.
"A" line for mom..invites geeky cousin home.
"B" line for mom..doesn't think Kelly needs to be popular.
"A" line for cousin..spends the summer at Kelly's house.
"B" line for cousin..might feel like a distraction to Kelly and her friends.
2. I would make the story a win/win by Kelly hanging out with her cousin instead of her friends.
I would make the story a no win/no win by Kelly's cousin deciding to leave because she found out that Kelly didn't want her to spend the summer at her house because of her friends.
I would make the no win/ win by Kelly's friends being friends with the cousin, and the friends noticed that Kelly didn't want the cousin to be there. So the friends didn't think Kelly was cool because she wanted to get rid of her cousin.
3. In the story I want to write the "A" objective will be that this girl ends up pregnant and her boyfriend
will stand up and take care of the baby but the parents don't approve of it.
The "B" objective will be that the boy and the girl will convince their parents to accept their relationship and the baby she is expecting.
Tuesday, November 29, 2011
concept 29 #2
INT. - JESSICA LIVING ROOM- NIGHT
INTERCUT PHONE SEQUENCE
INTERCUT PHONE SEQUENCE
Jessica just had a party while her parents were away on vacation. Her phone rings and its her mother.
JESSICA
Hello?
MOTHER
Hey honey how are you?
JESSICA
I'm fine. Really tired i just ran 1 hour non-stop.
Jessicas face when to a frown because she lied to her mother.
MOTHER
Wow really? That's good. Well i was calling you to let you know that your father and I are coming home a little early because their was an accident at the hotel we were staying at.
JESSICA
Wait what what?!?!
Jessica was panicking. She didn't know what to do. She had a complete mess from the party she had.
JESSICA
What time will you get home?
MOTHER
we'll be there in about 20 minutes.
Jessicas eyes were wide open.
JESSICA
um..um. ok then. i'll wait for you guys right here.
MOTHER
We better not see a mess in the house like last time ok??
JESSICA
everything is clean
MOTHER
ok then we'll be there in a few minutes.. Love you.
END INTERCUT PHONE SEQUENCE
Jessica was cleaning the house a fast as she can from the living room to the kitchen to the bathrooms and the rooms.
Monday, November 28, 2011
concept 28 #2 or #3
On my last birthday I stayed home with my family. My aunt came and brought me cake and a gift card from Hollister as a present. My dad also gave me a big surprise. After he got out of work, he came home with 12 white and red roses and a birthday card for me. I thought it was beautiful.
Monday, November 21, 2011
Love Hexagon Critique
Format: check the int. and ext.
character: julie and taylor, weren't very realistic and original.
story/conflict: needs to be more unique. make the teen pregnancy story more different
Friday, November 18, 2011
Ground hog day reflection
Groundhog day was easier to understand than Memento because it was easier for me and it didn't have many flash forwards like Memento does. i like run lola run better than groundhog day because run lola run has a lot of endings that are interesting.
Thursday, November 17, 2011
pilot #4 critique
format/grammar: check punctuation, check spelling. Format good a little off on some sentences. Capitalize the characters name when first introducing them.
Characters: Each character has their own personality and i love that about a story.
Destiny seems like she loves Nathaniel.
Nathaniel loves Destiny and he regrets what he did but also he should've thought of his girlfriend first before doing anything else.
Conflict/ story: great conflict.. liked the ending. It leaves the reader wanting to know what is going to happen with the baby.
Characters: Each character has their own personality and i love that about a story.
Destiny seems like she loves Nathaniel.
Nathaniel loves Destiny and he regrets what he did but also he should've thought of his girlfriend first before doing anything else.
Conflict/ story: great conflict.. liked the ending. It leaves the reader wanting to know what is going to happen with the baby.
Wednesday, November 16, 2011
pilot critique #3
-great format
- Couple mistakes in the punctuation, some question marks were there when they weren't needed.
- characters are very interesting and each character has a different personality.
-interesting conflict, very realistic
- Couple mistakes in the punctuation, some question marks were there when they weren't needed.
- characters are very interesting and each character has a different personality.
-interesting conflict, very realistic
Tuesday, November 15, 2011
cheaters script
format: mostly everything was fine but needed grammar check and the spacing was a little off.
characters: Everyone likes everything about the football player John. Needed more characters.
conflict: needed more conflict, got boring after a while.
characters: Everyone likes everything about the football player John. Needed more characters.
conflict: needed more conflict, got boring after a while.
Monday, November 14, 2011
pilot # 1
Introduced all of the characters very.
About the character Jessica, she is a little pessimistic.
Entertaining at the end. At the ending of the story it leaves us wanting to know whats going to happen.
Friday, November 4, 2011
reflection on Psycho
What is creative about the story structure is the music playing when something horrible is going to happen. The characters are very unique because each character has their own personality.
Wednesday, November 2, 2011
critique pilot #2
Really good format.
When introducing characters first put in caps.
There should've been more dialogue with chloe and jordan..
Great conflict very realistic.
Check punctuation.
When introducing characters first put in caps.
There should've been more dialogue with chloe and jordan..
Great conflict very realistic.
Check punctuation.
Tuesday, November 1, 2011
Pilot script
INT. SCENE 1 HOUSE MORNING TIME
get rid of the "scene 1" and put day or night not the time.
INT. house-morning- Day or night
Monday, October 31, 2011
Horror Movies!!
What makes a great horror movie is a lot of freaky things and scary music.
Some of the techniques writers use to scare the audience is suspense, things and people coming out of no where, and weird-scary looking people.
Wednesday, October 26, 2011
concept 23 #3
The story i would like to write is a funny/love story.. i am more interested in making that kind of story because funny stories and love stories are two of my favorite themes. Those themes seem more interesting to me.
Tuesday, October 25, 2011
concept 22 #3
The film i want to write is plot-driven because the characters can't control the other characters actions.
Monday, October 24, 2011
pilot reflection
Our characters are unique because they aren't going to be the "popular" ones like the ones in all movies.
Wednesday, October 19, 2011
My so called life
I don't really get the show my so called life. I prefer freaks and geeks because its funnier and more interesting.
Tuesday, October 18, 2011
concept 20
1. My character is struggling to ask a guy she has known for a long time. He just doesn't know she has feeling for him.
Thursday, October 13, 2011
concept 19 #3
3. the issue in life i feel strongly about is the mistreatment of animals. i can't stand animals being beaten and mistreated for no reason.
Thursday, October 6, 2011
concept 16
No, I have never been in detention.
If I would hang out with someone i met in detention for an entire day i wouldn't be comfortable because I'm not the type of person that likes getting into trouble. I would ask that person why do people like doing bad things and getting into trouble?
Wednesday, October 5, 2011
concept 15 #3
3. In my script of Freaks and Geeks, the theme is that anything could happen. I chose this because in my script an unexpected thing happened so you never know what could happen in life.
Tuesday, October 4, 2011
foster kane
I honestly don't like the movie Citizen Kane because i don't understand the movie and also because i don't like black and white movies.
Wednesday, September 28, 2011
Tuesday, September 27, 2011
Freaks and geeks reflection
My favorite episode so far from freaks and geeks is the episode "Kim Kelly is my friend" because I found it more interesting and the characters were more hilarious. I liked it when Kim stood up for Sam.
Monday, September 26, 2011
how each character is unique
Nick and Daniel: joke about sex
Karen: very rude
Sam: uses high level of vocabulary, scared to stand up for himself
Neal: uses high level of vocabulary, intelligent
Bill: comes up with random comments and random times
Kim: a bit rude, thinks she's cool
Karen: very rude
Sam: uses high level of vocabulary, scared to stand up for himself
Neal: uses high level of vocabulary, intelligent
Bill: comes up with random comments and random times
Kim: a bit rude, thinks she's cool
Friday, September 23, 2011
One Scene from script
LINDSAY
hi guys!
KIM
well well well if it isn't the party pooper
NICK
she is not a party pooper she just had to see if her brother was ok
KIM
exactly, she wanted to have fun with us and we did but she wanted to go home.
Party pooper! party pooper!
LINDSAY
Ok kim that's enough! if you had a brother you would've understand.
KIM
oooh look who's trying to be all tough now. Well the good thing is
that i don't have a brother so i can pick on yours.
LINDSAY
Don't even dare to pick on my little brother
NICK
alright ladies cut it out. ok.
come on lindsay lets go for a walk
Nick and Lindsay walk away while Kim yells out
KIM
Bye lovebirds. Use Protection Hahaha
Nick and lindsay walk to the backfield to ignore what Kim was saying.
LINDSAY
Why does daniel let Kim act like that? She is so rude.
NICK
I know but thats the way she is
LINDSAY
Thank god I'm not like that
Nick looks into Lindsay's eyes
Friday, September 16, 2011
concept 11
I went to the park this saturday to relax and walk around. I sat down for a while and I saw a couple walking and holding hands and talking to each other. The man made the woman smile the whole time they were walking. I thought to myself that that was emotional and aesthetic. The woman had a physical problem. She couldn’t walk right and and her mouth wouldn’t close all the way, but the man helped her when she was going to fall or trip. Most men would be embarrassed to be seen with a women who has a physical problem, but that man didn’t.
concept 12 #1
BEETLE JUICE
SECOND DRAFT SCREENPLAY
REVISED 2-3-87
BY WARREN SKAAREN
FROM AN ORIGINAL SCREENPLAY
BY
MICHAEL MCDOWELL
based on a story by
Michael McDowell and Larry Wilson
FADE IN:
EXT. WINTER RIVER, CONNECTICUT - DAY
A crisp and perfect New England town. Almost too neat
to be real. No visible townspeople. CAMERA EXPLORES
town.
CAMERA FLIES
over a rickety bridge -- PAST the Maitland Hardware and
Appliance store -- PAST the church -- the Historical
Society -- UP over the graveyard on the hill and
finally --
To the Maitland house. The perfect Victorian house
surveying the tiny village. Suddenly --
A GIANT DADDY LONGLEGS SPIDER
mounts the crest of the hill beside the house, pauses to
wave a spindly leg and then creeps menacingly on top of
the Maitland house.
ADAM (O.S..)
Well, well, you're a big fella...!
A hand -- as big as God's -- with a huge tweezer,
gently reaches down out of the sky and lies, palm up,
in the yard next to the house. Daddy Longlegs climbs
into it. The hand rises into the sky again.
INT. ATTIC - NEW ANGLE - DAY
Reveals Winter River as a miniature town, while The
Daddy Longlegs and the hand are normal size. Above the
model are a homely representation of moon, sun, and
stars -- a whole, tiny, mechanical universe to track
the hours of the day. A large plat map of the city is
prominent on the wall.
The hand is ADAM MAITLAND'S. In his late 30's, he's a
solid easy-going citizen. Capra used to make movies
about him.
Adam's model town sprawls across most of the attic
space. Windows on either end of the attic shed good
light into the warm room. Adam very carefully lifts
the spider out the open window. Smiles as he drips him
lightly on the breeze.
CAMERA TILTS UP FROM THE WINDOW
To see the real Winter River, laid out exactly as the
model, at the foot of the hill. Adam breathes deeply
and looks very pleased at the glorious town below him.
ON HIS HUGE HAND AGAIN
as it reaches into model and tweezes a tiny sign into
the tiny window of Maitland's Hardware Store on main
street. It reads:
ADAM AND BARBARA MAITLAND
ARE
ON VACATION!
HOORAY!
Adam leans down and eyes the sign.
BARBARA
(behind him)
I'm ready!
Adam turns to see entering: BARBARA MAITLAND, 35 -- a
wholesome beauty who is mellowing well. She smiles at
him. Perhaps a certain tinge of sadness about her,
because they don't have children.
ADAM
(happy to see her)
She's ready.
BARBARA
(eyeing the model)
It looks great.
ADAM
(nodding)
Thanks.
She pushes a wrapped present across the table.
BARBARA
Happy vacation, honey!
Adam smiles and gives her a present he's hidden under
the table. He opens his present. A can of furniture
oil.
ADAM
Manchurian Tung oil?
(playfully grabs
Barbara and kisses
her)
Where did you get it?
BARBARA
Helen got it for me in Oslo.
There's enough to refinish the
gateleg table and the cherry
wardrobe...
Adam hands Barbara a carefully-wrapped bundle -- she
unwraps her gift... rolls of very expensive floral
wallpaper. She cradles it in her arms like gold leaf.
BARBARA
Oh, Adam... it's beautiful.
Adam nods, and embraces her.
ADAM
Enough to do the guest room...
BARBARA
(cooing)
I'm so glad we're spending our
vacation at home...
(with a sudden resolve)
... I'm going to get started right
now!
ADAM
(pulling her back)
Whoa!... hold on...
Barbara calms down, returning to Adam's embrace... as:
PHONE RINGS -- They freeze, then grin.
ADAM & BARBARA
(unison)
No one's home!
HONK HONK outside. They look at each other horrified.
Peer out the window.
BARBARA
Oh no.
ADAM
(pointing at her)
It's your turn, darling.
She shakes her head with resignation and goes downstairs.
KNOCKING on door from below.
INT. STAIRCASE AND KITCHEN - DAY
CAMERA FOLLOWS Adam and Barbara downstairs. We see the
rambling, old fashioned quality to the house.
Clean, sentimental, warm and floral. Some rooms in
progress. They continue down the main staircase past
photos of themselves, old photos of the early days of
Winter River, pictures and mementos of three
generations in hardware. Barbara goes to the kitchen
and Adam continues down to the basement.
HER POV - A WOMAN
JANE BUTTERFIELD -- tall, gawky and aggressive peeks in
the kitchen door. She's divorced three husbands and
buried another for good measure. She's ruthless but is
weirdly, seamlessly pleasant. She waves a legal sized
paper at them, starts to come inside.
INT./EXT. KITCHEN DOOR
Barbara makes dash for it and holds it just as Jane gets
a foot in. Jane smiles wildly.
JANE
Hi, Barb! I'm glad I caught you.
I heard you were on vacation!
BARBARA
That's right, Jane. Complete
vacation.
JANE
Honey -- today I am three hundred
fifty thousand dollars!
BARBARA
No! Jane, it is 6:45 in the
morning!
JANE
Look at me, think of me as cash!
This offer is really real! From a
rich man in New York City who only
saw a photograph!
(rattles on)
My buyer has just made a killing
in condos in Manhattan, but he's
got a little stress problem...
(taps her head)
... so -- he wants to bring the
wife and kid for the old peace and
quiet.
BARBARA
That's what we're looking for,
too.
JANE
Barbara Maitland, sweetie, just
listen now. This house is too
big. It really ought to be for a
couple with a family.
That hurts Barbara a little. She looks at Jane.
JANE
(continuing)
Oh, honey... I didn't mean
anything... it's just too big for
you.
Jane compulsively affixes her business card, face inside.
in the windowpane.
BARBARA
(shutting door)
'Bye, Jane, see you in a few
weeks.
ADAM
is humming happily, looking for paint brushes in the
ground floor storeroom. He spies a cassette deck and
looks through a stack of cassettes and plays one. It
is an old INKSPOTS LOVE SONG.
INT. GUEST ROOM - DAY
Barbara is starting to paper the walls already. She
frowns at the MUSIC. Goes to the door.
BARBARA
Oh, honey. You said no Inkspots
on this vacation!
It CLICKS OFF. She goes back into the room.
INT. STOREROOM - DAY
Adam puts away the tape but keeps humming the song. He
opens the shutters on a small window. ON WINDOW...
JANE
(her huge face
grinning at him)
Boo!
He jumps back, frightened.
ADAM
No, Jane.
Adam closes the shutters as Jane affixes yet another
card to the window. He continues his search for a
brush.
JANE
exits jauntily, flapping her contract down the lawn.
INT. MAITLAND HOUSE - DAY
Adam continues rummaging for a brush. Can't find it.
ADAM
(calling to distant
Barbara)
Honey, come with me down to the
store?
BARBARA (O.S.)
What for?
ADAM
I need a good brush for this Tung
oil and I want to pick up a piece
of the model. Let's go early
before anyone sees us.
Barbara has already papered a few rolls in the guest
room.
BARBARA
Okay, but let's hurry back. You
just run in okay?
EXT. THE HOUSE - DAY
The Victorian house from the model "in the flesh."
Adam stands by the station wagon.
On the bumper of the car is a sticker reading:
WARNING: I BRAKE FOR ANIMALS.
Barbara gets in driver's side. They drive off.
INT. THE CAR - DAY
Adam dusts the inside of the dashboard. Clean Clean.
BARBARA
(preoccupied)
Jane said we should sell the house
to someone with a family.
ADAM
Ah, the ever-tactful Jane.
Puts his hand on her shoulder.
EXT. THE RIVER AND BRIDGE AND HILL - DAY
We see the car coming down the hill toward the bridge.
ADAM (V.O.)
We should be flattered that she
wants to sell our house.
BARBARA (V.O.)
I know... I just wish she'd leave
us alone.
ADAM (V.O.)
Let's not think about it. We'll
have a nice romantic, quiet,
vacation. Here comes the bridge
chorus.
Car reaches the rickety covered bridge. Car shakes,
bobbing up and down on every plank.
ON Barbara and Adam TIGHT -- (they've done this routine
before). They sing an old Johnny Mathis song. With a
lot of vibrato.
TOGETHER
Chances are... When I wear a
foolish grin...
They laugh.
EXT. DOWNTOWN WINTER RIVER - DAY
Just like the model, but real. And populated.
CAMERA PAUSES ON a gorgeous storefront with a brass
lion out front. Sign above doors says --
BOZMAN BUILDING 1835
An old man polishes the lion as Maitlands drive by and
wave.
BARBARA (V.O.)
Wave at the lion.
ADAM (V.O.)
Don't forget the balls, Ernie.
BARBARA (V.O.)
(embarrassed)
Adam!
Ernie looks around to see no one's looking and polishes
the balls of the lion.
CAMERA SPIES A JAUNTY DOG
like Benji, peeing on the opposite corner of the lion.
Maitlands drive by store with sign:
JANE BUTTERFIELD
ANTIQUES
REAL ESTATE
TRAVEL
INT. ANTIQUE STORE REAL ESTATE OFFICE TRAVEL AGENCY -
DAY
The store is bursting with antiques of all sorts,
travel brochures, photographs of houses for sale, and a
serve-yourself Xerox machine. LITTLE JANE, her eight-
year-old daughter is drudgingly making copies.
Jane, phone in hand, rushes to the window to watch
Maitlands drive by. Almost popping the cord when it
reaches its end. She's waiting for the other party to
pick up.
JANE
Y... ello. Mrs. Deetz? Well the
condition is what we country folk
call, fixin'... Yes, I think they
are fixin' to accept another
offer. Well maybe if you offer
390,000 they'll take it.
EXT. MAITLAND HARDWARE - DAY
Adam sprints up the steps of his lovely hardware store.
OLD BILL, a slightly-addled ancient barber, is napping
in a chair in front of his shop, next door to Adam's.
Adam fumbles with the lock, not interested in conver-
sation. He drops his keys, waking Old Bill.
OLD BILL
'Morning, Adam. You need a
haircut before your vacation?
ADAM
No thanks, Bill.
OLD BILL
How's the model coming?
ADAM
Good, Bill -- Good.
Bill turns around and continues prattling even though
Adam has entered. Bill prattles throughout.
OLD BILL
Y'know, I was thinkin'... you said
Bozman built the foundation in
1835 but y'know his grandson came
in here last week and said he
found a bottle with an 1836 stamp
in it plastered in the foundation.
(suddenly disgusted
at the memory)
He's got hair down to his
goddamned shoulders...
INT. MAITLAND HARDWARE
Adam pulls down a few good paintbrushes and carefully
picks up a small model of the Bozman building. He
walks out. Old Bill continues unabated.
OLD BILL
He said "Just give me a trim..." I
took a scissors to him so fast...
would've skimmed him clean if he
hadn't...
Adam strides by quickly to the car.
ADAM
See you, Bill.
OLD BILL
Right.
EXT. MAITLAND'S CAR - DAY
The Maitlands drive their car out of town.
ON JANE
EXT. CAR AND BRIDGE - DAY
Car approaches.
INT. CAR - DAY
Five brushes sit on the seat next to Adam. He cradles
small replica of the Bozman building, complete with
brass lion.
BARBARA
It's a beauty.
ADAM
Yeah it turned out okay. We
applied for a historical plaque
for it. That'll be the third one
on Main Street.
BARBARA
(jokingly)
With all these historical
landmarks in town, where are they
going to put the condominiums?
ADAM
(grinning)
Slow down there, honey... I don't
want the vibration to weaken the
model.
BARBARA
(nervous)
Oh... I'm sorry...
Barbara starts to apply the brakes.
Just before the bridge the dog waddles out in the road.
Stops to pee. Barbara swerves. As the car hits the
rickety bridge, the speed is just a bit too much.
Boards RATTLE and loosen, the car skews and catches in
an open slot, careens to the right, then the left and
the bridge.
INT. CAR - DAY
A piling has smashed through the window on the pas-
senger side, crushing the upper part of Barbara's
arm. She is wailing in pain and fright.
Adam tries to help Barbara. He tries to get out of the
car. None of this succeeds.
EXT. BRIDGE AND RIVER - DAY
The dog finishes, looks over at the car, walks across
the bridge and steps on the one board which holds the
car aloft.
The car rocks back and forth for a moment, and then
slides forward toward the water.
EXT. CAR AND BRIDGE
The car plunges into the rushing water. It floats
for a moment, and then sinks like a stone.
FADE TO BLACK.
FADE IN:
INT. BARBARA AND ADAM'S LIVING ROOM - DAY
Quiet, still, expectant. There is a fire laid in the
hearth. Suddenly and for no apparent reason it ignites
and burns with a furious cheerfulness.
Barbara and Adam enter, dazed, wet, and bedraggled.
BARBARA
Something like this always happens
when we try to go on vacation.
Always.
Adam leads her toward the fire.
ADAM
You'll feel better when you're
dry.
He holds out his hands to be warmed. Barbara comes up
beside him. All this time she's been holding her
injured arm with the other hand.
BARBARA
This fire wasn't burning when we
left the house.
ADAM
How's your arm?
BARBARA
I'm not sure. It feels... frozen.
She holds her arms out to warm them. One hand catches
on fire.
BARBARA'S LEFT ARM
They stare at it dumbfoundedly before Adam regains his
senses and snatches it out of the fire. Two of the
fingers are burning like candles, and Barbara indus-
triously blows them out.
BARBARA
Oh, Adam.
CUT TO:
INT. LIVING ROOM: A FEW MINUTES LATER - DAY
They are sitting on the couch together. Barbara is
looking away slightly -- as one does when a doctor is
drawing blood -- while Adam looks at her fingers. He
frowns.
He looks at his skin. It is pale. He looks at
Barbara.
ADAM
You'd better sit down, hon.
BARBARA
I am sitting.
ADAM
I'll tell you what, Barbara. I
don't think we survived that
crash.
BARBARA
(pause)
Oh, Adam. We're home. In our own
house. Nonsense. I'll make some
coffee. You get some more
firewood.
Adam gets up, a little absently, she follows him as he
wanders to the front door. He peers out.
ADAM
Let's take things extra slow. Do
you remember how we got back up
here?
Barbara tests her hand, clenches and unclenches her
fist.
BARBARA
I'm fine. My arm works fine.
Adam, exploring, opens the door, steps out on the front
porch.
EXT. FRONT PORCH - TWILIGHT
Adam's face is painted with color of sunset. He stands
atop the steps leading down to the front yard. Barbara
stands just inside the open threshold, looking out
worriedly.
BARBARA
(quiet sarcasm)
The end of a perfect day.
Adam starts to step down to the yard.
ADAM
Honey, I'm gonna go down to the
bridge and retrace our steps.
He steps off the last step into the yard and promptly
disappears.
BARBARA
Adam!
EXT. THE GREAT VOID
Adam is nowhere. There's no ground, no sky, nothing to
stand on or hold onto or give boundaries or distance.
Just vast nothing. Not white and not colored either.
NOISE OF A CLOCK TICKING.
Adam looks about surprised, doesn't like what he
doesn't see. He turns around to head back up the
steps. There are no steps.
ADAM
Barbara?
His VOICE ECHOES STRANGELY. He runs off a little in
the distance, and calls again from over there.
ADAM
(continuing; quietly)
Where are you?
He goes even farther away.
IN THE FOREGROUND
an enormous geared wheel -- the size of a man -- rolls
by, tearing up the unseamed ground. Something pours up
out of the tear -- ooze or stuffing.
Adam runs forward and stares after the wheel, which is
now out of sight.
TWO SMALLER GEARS
looking very much like components of a giant watch --
spin along behind him. One of them veers suddenly
toward him, and though Adam jumps out of the way, the
gear snags his trouser leg and shreds it. LOUD
TICKING.
A PERFECTLY ENORMOUS GEAR
comes barreling toward him. Adam leaps out of its
way. The gear turns, fish-tailing, kicking up ooze and
stuffing.
Adam flings himself suddenly to the right, but trips
into the path of the gear. As he's about to be
crushed, he's suddenly jerked up to safety.
EXT. FRONT PORCH - NIGHT
It's Barbara who's grabbed him, and quite evidently
saved his life -- not life, perhaps -- but existence.
He's shaken, breathless.
Barbara stares at him, as if wondering what he's just
been through.
ADAM
(weakly)
You saved my -- uh -- life... or
whatever...
BARBARA
Two hours.
ADAM
What?
BARBARA
That's how long you were gone.
ADAM
(pondering that)
... Hmmm?
INT. LIVING ROOM - NIGHT
Barbara leads Adam into the house.
ADAM
Anything happen while I was away?
BARBARA
Yes, it did. Yes, it did. I made
a couple of small discoveries.
BARBARA
stands by the mirror over the hearth mantle. On the
mantle is Barbara's prize collection of porcelain
horses. Adam comes to stand beside her. They look
into the mirror, and there is no reflection of them.
Barbara picks up one of the horses, and trots it through
the air. The horse is imaged in the mirror.
BARBARA
(continuing)
There's that, and there's this.
She picks up an ancient, leather-bound book. It's
yellow and worn, about the size of the Boy Scout
manual.
CLOSEUP: Its title is HANDBOOK FOR THE RECENTLY
DECEASED.
ADAM
(reading)
Handbook for the recently
diseased.
BARBARA
Deceased. I don't know where it
came from. Look at the publisher.
ADAM
(he does and reads)
Handbook for the Recently Deceased
Press.
BARBARA
(finally admit-
ting it)
I don't think we survived the
crash.
INT. BEDROOM - NIGHT
Adam is already in bed, reading from the handbook.
Barbara is getting ready for bed -- going through a
ritual of sorts that they practiced every night of
their married lives.
BARBARA
I don't like situations like this.
I hate it when I'm not in control.
So just tell me the basics.
ADAM
This book isn't arranged that
way. What do you want to know?
BARBARA
There are a thousand things... Why
did you disappear when you walked
off the front porch? Is this a
punishment? Are we halfway to
heaven or are we halfway to hell?
And how long is this going to
last?
ADAM
I don't see anything about
"Rewards and Punishments" or
"Heaven and Hell."
(frustrated)
This book reads like stereo
instructions! Listen to this...
'Geographical and Temporal
Perimeters... Functional
perimeters vary from manifestation
to manifestation." This is going
to take some time.
BARBARA
paces, she trips on her wallpaper rolls. Kicks them.
BARBARA
I knew I'd never finish the guest
room. Adam, we just can't stay in
here forever!
They look at each other, the question hangs in the air.
Can't they?
Adam stands and walks to the window.
ADAM
(thoughtfully)
Maybe we should set up a normal
routine.
She looks at him like he's nuts.
ADAM
(continuing)
I mean, let's try to nail down
something in our lives. A regular
schedule. We can keep track of
time and go on with our projects
up here in the attic.
She shakes her head, exasperated. Flops down on the
bed.
BARBARA
Oh, God, maybe this is all just a
bad dream.
ON ADAM - TIGHT - a somber look comes across his face.
ADAM
I'm afraid not, honey.
Barbara looks up at him, questioningly.
BARBARA
Why? What's wrong? Adam?
She stands and joins him at the window.
THEIR POV THROUGH THE WINDOW
In the distance we see an automobile funeral procession
threading its way toward the nearby cemetery. Head-
lights are on. We recognize Jane's car in the line.
REVERSE ON BARBARA AND ADAM
somber faces.
TIGHTER ON PROCESSION
It arrives at the gravesite. We see some familiar
faces, Ernie, and Old Bill the Barber. Jane and little
Jane watch as two identical coffins are carried to-
gether, to two open graves.
ON BARBARA AND ADAM
She drops her head sadly on his shoulder. He leans his
face slightly into hers.
FADE OUT.
FADE IN:
INT. ATTIC - DAY
Adam is setting up a small monument in the model town
cemetery. It reads: ADAM AND BARBARA MAITLAND/UNITED
IN LIFE/UNDIVIDED IN DEATH.
ADAM
I wish I had a better view of the
cemetery from up here. I don't
know which area is the best
placement for us.
Barbara, trying to clean, lets out a frustrated YELP!
She paces.
ADAM
(continuing)
Cabin fever, han?
BARBARA
I can't clean anything. The
vacuum is out in the garage. I
can't leave the house. Why don't
they tell us something? Where are
all the other dead people in the
world? Why is it just you and me?
ADAM
Maybe this is heaven.
BARBARA
(looking at the
dusty walls)
In heaven there wouldn't be dust
on the wallpaper.
ADAM
Hon... I didn't want to die, but
really, this is fine with me.
Look, we never have to wash dishes
again.
BARBARA
Dishes? We haven't eaten in three
weeks! Adam, I'm not like you. I
really need to be around people,
get out to the church and go
grocery shopping.
ADAM
But I'm not hungry, are you?
Barbara shakes her head and picks up the Handbook and
pages through it desperately.
BARBARA
I keep having this feeling that
something has got to happen.
CAR DOOR SLAMS outside. Adam and Barbara look at one
another. Run to window.
EXT. MAITLAND HOUSE - DAY
Jane Butterfield is staring up at the old house.
INT. ATTIC - DAY
Adam, from his angle, can just barely see her.
ADAM
God, it's Jane.
BARBARA
What's she doing here?
ADAM
I don't know.
(shouting)
Jane, Jane, up here!
EXT. MAITLAND HOUSE - DAY
Unhearing, Jane heads for car. SOUND OF WIND UP.
Blows her dress. Little Jane straggles along with her
like an apprentice.
INT. ATTIC - DAY
Barbara watches Adam, and shakes her head. He stops.
BARBARA
She can't see you, right?
Adam nods.
BARBARA
(continuing)
In the book, Rule Number Two: the
living usually won't see the dead.
ADAM
Won't? Or can't?
BARBARA
Just says "won't." Wait a minute.
Here it says "the living are
arrogant... they think they'll
never die, so they refuse to see
the dead."
ADAM
Arrogant. That's Jane all right...
Barbara sighs and nods.
BARBARA
At least we won't have to worry
about her.
Adam smiles and goes to his model.
EXT. MAITLAND HOUSE - DAY
Jane drives away. CAMERA HINGES to see a FOR SALE
sign. Across it -- another smaller banner. It reads:
SOLD!
CUT TO:
INT. MASTER BEDROOM - MORNING
The Maitlands are asleep. CAMERA EXPLORES the room a
bit. It is getting slightly tatty. Adam rolls over,
pulling the covers off Barbara. We see:
ON BARBARA -- she is hovering off the side of the bed.
An OMINOUS RUMBLE -- like a 4.0 earthquake shakes
the house. GLASS RATTLES, the ceramic horses on the
mantelpiece jump around. Barbara falls to the floor.
They look at one another with horror. They leap up and
run downstairs.
INT. LIVING ROOM - DAY
The RUMBLE BUILDS TO A CLIMAX, there is a LOUD METALLIC
SQUEAL, and then a CRASH... just as Barbara and Adam
arrive.
THE FRONT DOOR
smashes open revealing a moving van ramp.
A TEN-FOOT ELECTRIC-BLUE ITALIAN LEATHER COUCH
slides smoothly down the ramp. On the couch sits DELIA
DEETZ.
The couch CRASHES into the base of the staircase,
smashing the newel post and several of the balusters.
Barbara cringes. One of the balusters falls at Delia's
side. She grasps it like a scepter.
Two MOVING MEN rush down the ramp.
MOVING MAN #1
Sorry about that, Mrs. Deetz.
DELIA
Don't worry. It was going anyway.
Delia is relentlessly New York, relentlessly fashion-
able, relentlessly thin -- totally self assured.
She is also a woman with a mission -- to gut Barbara
and Adam's house and remake it in her own very upscale
image.
Delia's gaze is on the living room, but she looks
through Adam and Barbara as if they weren't even there
(which to her eyes they're not).
Still holding the baluster, Delia gets up off the couch
and moves into the living room, surveying it with an
odd mixture of ambition, and resolution.
BEHIND HER
the two Moving Men bring in a matching blue leather
armchair. In the armchair sits LYDIA DEETZ.
Lydia, age 14, is a pretty girl, but wan, pale and
overly-dramatic, dressed as she is in her favorite
color, black. She's a combination of a little death
rocker and an 80's version of Edward Gorey's little
girls.
She has a couple of expensive cameras around her neck
-- and is already taking photographs of the moving
men. Lydia is cool, Lydia is sullen, Lydia is her
father's daughter by his first marriage. Lydia is
usually about half-pissed off. But underneath... we
like her a lot.
The Moving Men still hold up the chair, waiting for
Delia to decide where she wants it.
DELIA
(continuing)
Jesus. Who lived here? The
Waltons?
TIGHT ON Lydia -- calmly surveys the house.
Delia signals wearily that the Moving Men can put the
chair down anywhere.
DELIA
(continuing)
Get all this other crap out of
here.
Lydia hops down out of the chair, and comes farther
into the living room.
DELIA
(continuing)
Where is your father?... probably
in the kitchen.
That's the cue for CHARLES DEETZ, who comes in through
the swinging door, and across the dining room... a ner-
vous but basically pleasant man, CHARLES DEETZ is
intent on attacking rest and relaxation with the same
vengeance that earned him millions in real estate.
CHARLES
The noise in that kitchen. Noisy
refrigerator, noisy faucets...
We'll have to replace it all. I
want no humming in the house.
LYDIA
exploring on her own, gazes around the living room with
growing pleasure, she backs up for a good angle to
photograph.
CAMERA HINGES -- She is standing with her back right up
to Barbara -- who is horrified at this creature.
Charles enters.
CHARLES
(to Lydia)
What do you think, honey?
LYDIA
Delia hates it.
Lydia gazes at a dusty maze of spider webs.
LYDIA
(continuing)
I could live here.
A movement makes Lydia turn around and scream. It is
Delia. Not Barbara.
DELIA
Settle down, Lydia. I wonder
where we are going to get
counseling for you out here.
A VIOLENT FALSETTO SCREAM turns the Deetz family's
attention to the front windows.
OTHO (O.S.)
Help! Oh help!
OTHO'S MASSIVE BODY
Wedged in the window frame. The short, stubby legs,
dressed in the world's largest pair of Georgia Armani
slacks, protrude into the living room, waving fran-
tically. Expensive Italian loafers are kicked off the
feet, revealing a pair of expensive patterned socks.
By their feet shall ye know them.
DELIA
It's Otho!
CHARLES
Otho, why didn't you just come in
the door?
Otho's voice comes as if from a great distance.
OTHO (O.S.)
It's bad luck. And I believe
hugely in luck.
DELIA
Hold your breath and we'll pull.
Delia turns to Charles and Lydia for help -- doesn't
get it -- and at last pulls Otho into the living room
single-handedly.
All this while the Moving Men are variously carting out
the handsome old furniture and bringing in the hideous
new furniture.
Otho is Robert Morley at his most obscenely fat and
faggoty. But he's not all fat and fun -- this customer
carries nasty emotional weight as well.
OTHO
holds onto the curtains for support as he is pulled
through the window. And when he is at last all the way
through, and upright on his feet, he suddenly gives a
tremendous yank. The whole drapery apparatus,
including valences, crashes to the floor.
OTHO
That was the single most
unattractive window treatment I
have ever seen in the entire of my
existence.
DELIA
(starry eyed)
I'm so glad you could leave the
city to consult me, Otho.
Otho is looking around the room with an eye of quiet
horror.
OTHO
Yes, of course you are. Well,
Otho had an intuition. Call it a
hunch -- that it was going to be a
fabled monstrosity of a house.
And it certainly is. Charles,
you're lucky the yuppies are
buying condos, so you can afford
what I'm going to have to do to
this place. We are talking from
the ground ups'ville!
CHARLES
That's fine, Otho. Just keep me
out of it. I am here to relax and
clip coupons. And goddamnit, I
mean to do it.
He exits to find solace in a quiet corner of his house.
During this speech, Otho has been surreptitiously pos-
ing for Lydia's camera. She clicks the shutter.
OTHO
(ignoring her)
Is the rest of the house as bad as
this?
DELIA
The rest of the house is probably
worse. When can you and I get
started?
OTHO
No time like the present, as my
wicked stepmother used to say.
Out of the pockets of his size 56 Georgia Armani
jacket, Otho takes two cans of spray paint -- the kind
the graffiti artists use -- and shakes them as if they
were castanets. They certainly sound like it.
OTHO
Delia, let's get this show on the
road.
INT. UPSTAIRS HALLWAY
At one end, near the stairs leading up to the attic,
Barbara and Adam are slumped against opposite walls.
BARBARA
Adam, we are in hell. I hate
these people.
ADAM
They make Jane look good.
BARBARA
Is this a punishment for something
we did in life? What can we do?
ADAM
(determined)
We're not completely helpless.
I've been reading the book.
There's a word for people in our
predicament, honey.
Barbara looks at him.
BARBARA
(continuing)
Ghosts!
Barbara is shocked at the reality.
Otho and Delia come up the stairs at the end of the
hallway.
OTHO
We're dealing with negative
entertainment potential here. I
mean, there's absolutely no organic
walking flow-through.
Otho looks down the hallway. It's empty. Adam and
Barbara are no longer there.
DELIA
What's wrong?
OTHO
I thought I saw something.
DeLia turns and spray-paints on the wall -- in luminous
orange -- the word MAUVE.
DELIA
Okay?
OTHO
(screaming with delight)
You read my mind! I love clients
who can read my mind. I don't
think people realize how strong a
connection there is between
interior design and the
supernatural.
DELIA
(fawning)
I know... I read your book, The
Haunted Tapestries of the Waldorf.
OTHO
Gooood!
Delia opens the door and they step inside another room.
DELIA
This will be Lydia's room.
INT. LYDIA'S ROOM - DAY
It's not Lydia's room yet, of course, because it still
has the Maitlands' furniture in it. Barbara had partly
wallpapered it before the accident. Her tools are still
there.
DELIA
What do you think?
OTHO
Viridian?
DELIA
Viridian? What is...?
Otho spray-paints the word VIRIDIAN on the wall -- plus
the word BLUE GREEN -- and Cr2 03, right over a picture
of Adam and Barbara as kids.
OTHO
Blue-green! Hydrated chromic
oxide! Remember I'm schooled in
chemistry. I was a hair analyst!
Briefly. Interior design is a
science, Delia! Think of me as
Doctor Otho.
(looking at wall)
And this patient is truly sick!
DELIA
Of course, her favorite color!
How beautiful!
Delia smiles. Behind Delia and Otho, the room's closet
door swings slowly open with and ominous CREAK.
DELIA AND OTHO
turn that way, with a suggestion of dread. Inside the
closet, Barbara's corpse is suspended from the ceiling
by a belt. The corpse twists with a CREAK, and Barbara
grins ghostly -- and slowly tears off her face, leaving
nothing but muscle and bone beneath. Her eyeballs
dangle on her cheeks.
Delia and Otho stare aghast.
DELIA
Oh my God!
OTHO
We just have to pray that the
other closets are bigger than this
one.
He walks over. Looks inside.
OTHO
(continuing)
Were these people dwarfes? (sic)
(spies something)
Oooooo!... Look!
He finds, neatly hung in plastic, the Maitlands'
wedding outfits. Totally captivated by this powerful
image, he peers through the plastic at them. Holding
each up to Delia. Barbara watches wide-eyed at them.
OTHO
(continuing)
Ozzie...
(holding up
her dress)
... and... Harriet! What happened
to these people?
Delia slams the door in Barbara's contorted face.
DELIA
They died.
INT. HOUSE - SAME TIME
Delia and Otho come out of Lydia's bedroom and go
through the bathroom. Disgusted, they continue on to
the study.
OTHO
reaches out and turns the knob. The door swings omi-
nously open on Charles' study. This had been Adam's
reading and birdwatching study. Bird posters on the
wall, books everywhere. Straight out of Better Homes
and Gardens 1963.
OTHO
Ooo. Deliver me from L.L. Bean!
I found IN. AND EXT., O.S, Cut To, and FADE IN, FADE TO BLACK
Wednesday, September 14, 2011
revising part of my script
Rachel thought Benito wanted to go out with her and to not offend him she said,
RACHEL
Ok I'll go out with you. Meet me at the Mexican Restaurant
called "Tacos al Carbon" on Saturday at 7pm.
Alex finds out about the date Benito and Rachel had. He wasn't really surprised because he knew girls felt bad for him.
The mistake i did was that i wasn't specific on which restaurant they were going to.
The mistake i did was that i wasn't specific on which restaurant they were going to.
Tuesday, September 13, 2011
freaks and geeks questions
1. she regrets doing what she did and now knows that whatever she does to try to be cool, she won't be.
2.The major plot is lindsay leaves with her friends to hang out and leaves her mom alone giving out candy and lindsay its her brother with an egg and her brother gets mad.
3. Sam reads a book and lindsay helps her mother give out candy.
2.The major plot is lindsay leaves with her friends to hang out and leaves her mom alone giving out candy and lindsay its her brother with an egg and her brother gets mad.
3. Sam reads a book and lindsay helps her mother give out candy.
concept 10 questions 1,2,3
1. The subjects i know really well are dancing, cooking, and cleaning. I could make a short film using this area by having a few characters and giving a lot of detail.
2. the resources that are available to me at,
home: internet
library or internet: books, websites
3. A subject that I know nothing about is directing. It seems a little complicating to me. I would ask what the teachers and students what they know and don't know and what they don't know, that is what they will learn in the class.
2. the resources that are available to me at,
home: internet
library or internet: books, websites
3. A subject that I know nothing about is directing. It seems a little complicating to me. I would ask what the teachers and students what they know and don't know and what they don't know, that is what they will learn in the class.
Monday, September 12, 2011
Concept 9 #1
1. The top three films worldwide are Avatar, Titanic and Harry Potter and the Deathly Hollows Part 2.
lead character: jake
main conflict: relationship between a rich woman and a poor man.
setting: between july 1997 and may 1998 location: in the woods.
In my new story I would make Jake and his family go to the woods to camp for a couple of days. They are a rich family, and unlike most rich families, they like going to the woods. One day they go and find a woman laying down on old and dirty blankets. She has been living in the woods for over 3 years because she lost her job and her home. Jake falls in love with her, but his family disapproves with that because she is poor and his family wants him to marry a rich woman.
lead character: jake
main conflict: relationship between a rich woman and a poor man.
setting: between july 1997 and may 1998 location: in the woods.
In my new story I would make Jake and his family go to the woods to camp for a couple of days. They are a rich family, and unlike most rich families, they like going to the woods. One day they go and find a woman laying down on old and dirty blankets. She has been living in the woods for over 3 years because she lost her job and her home. Jake falls in love with her, but his family disapproves with that because she is poor and his family wants him to marry a rich woman.
Friday, September 9, 2011
Concept 8
1.The plot would be that the two characters, who are football players, would talk and throw the ball to each other before the game starts, but while talking, one of them finds out that his girlfriend is cheating on him with the other football player. They start fighting and realize that the girlfriend is cheating on both of them.
3.There is a doctor in a prison cell painting. The doctor is in prison because he sold drugs to people instead of medicine. He thought he was so tough because he won a lot of money but he ended up in a prison cel. The guards decided that to torture him, he needed to paint pictures. If he doesn't, he will be in a dark room for a long period of time.
3.There is a doctor in a prison cell painting. The doctor is in prison because he sold drugs to people instead of medicine. He thought he was so tough because he won a lot of money but he ended up in a prison cel. The guards decided that to torture him, he needed to paint pictures. If he doesn't, he will be in a dark room for a long period of time.
Thursday, September 8, 2011
Freaks and Geeks Scene
LINDSAY
I'm a girl. You wanna see what it'd be like to fight me?
ALAN
Yeah i do. Just don't go crying to your mommy after it's over.
LINDSAY
Let's see what you got.
Sam, Bill and Neal stand there while they witness Alan getting his butt kicked by a girl.
ALAN
Ow!! Don't hurt me anymore please. I'm sorry.
LINDSAY
I thought you were so tough.
ALAN
Ow!! You broke my nose!
Alan runs away from Lindsay yelling out,
ALAN
You're dead, Weird. You hear me? When your crazy freak
sister isn't around, I'm gonna cream you.
When Alan left, the geeks laughed and cheered that Alan got his butt kicked my a girl.
Wednesday, September 7, 2011
This show is called victorious its pretty funny. It came out this year and my cousins love it as well.
I loved this show ever since i was younger. There are still some episodes that come out once in awhile.The episodes are really funny. Explains so much about being a family.
Sadly, this show doesn't come out on television anymore,but i had fun watching it when i was younger. Describes so much about friendship. It was funny as well.
Tuesday, September 6, 2011
Concept 7 question #2
2. In the script I wrote, only about 30 minutes will be "real time" from start to finish.
If the film itself is 15 minutes long, 1.15% of the total "real time" will be depicted.
If the film itself is 15 minutes long, 1.15% of the total "real time" will be depicted.
Concept 7
Brainstormers: Question #1
1. Finding nemo
2. Taken
3. 500 Days of Summer
4. Dances with Wolves
These films used as much details as possible and as much conversation as possible, but not too much to bore the people watching it.
1. Finding nemo
2. Taken
3. 500 Days of Summer
4. Dances with Wolves
These films used as much details as possible and as much conversation as possible, but not too much to bore the people watching it.
Short Script Reflection
My best scene was when Rachel and Alex find out that they both had feelings for each other for a long time because I believe its romantic and sweet how they both find out they like each other.
My worst scene was when Benito didn't explain very well to Rachel that Alex wanted to go out with her because she ended up going out with him to not make him feel bad.
I think I can improve my script by giving more details and making the script more interesting.
My worst scene was when Benito didn't explain very well to Rachel that Alex wanted to go out with her because she ended up going out with him to not make him feel bad.
I think I can improve my script by giving more details and making the script more interesting.
Friday, September 2, 2011
Concept 6
1. The short film I watched was Knickknack.
age/gender/ # of characters: 6 years old, boy(snowman), 2 characters
#of locations: 1
problem: the snowman is trying to get out of the snow globe by hitting the glass with the plastic igloo and hammering his carrot nose through it.
solution: he couldn't get out of the snow globe.
I liked how the snowman looks when he's mad. He looks funny.
2.i don't think it can be lengthened to a two-hour film because he is just trying to get out of the igloo, thats it.
3.my favorite feature-length movie is resident evil. It can stand on its own as a short when the lady comes out from her other work to kill the zombies and meets more people that are not infected to kill the rest of the zombies and to try to get out the city.
age/gender/ # of characters: 6 years old, boy(snowman), 2 characters
#of locations: 1
problem: the snowman is trying to get out of the snow globe by hitting the glass with the plastic igloo and hammering his carrot nose through it.
solution: he couldn't get out of the snow globe.
I liked how the snowman looks when he's mad. He looks funny.
2.i don't think it can be lengthened to a two-hour film because he is just trying to get out of the igloo, thats it.
3.my favorite feature-length movie is resident evil. It can stand on its own as a short when the lady comes out from her other work to kill the zombies and meets more people that are not infected to kill the rest of the zombies and to try to get out the city.
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