Tuesday, April 14, 2009


Character's basic life goals/objectives: (Protagonist) - He's a college-age guy, working, living his life by himself in an apartment. He is quiet, mild-mannered, honest, and typically known to "do the right thing". He just wants to get on with his life, with as little trouble as possible. He isn't nosey or curious, which is why this situation is so strange to him.

(Antagonists) - They are affiliated with the mob/a mob-like organization involved in rings of organized crime (gun-running, drugs, the usual bad stuff). And when they pay a visit to the protagonist's neighbor after a bad deal, they spot the protagonist watching them do their dirty work and figure that 'he knows too much".

Obstacles to reaching objectives: (Protagonist) - He's prevented from living a normal life by becoming a witness to the crime transpiring across the yard from his apartment. He can't remain safe if these two know he has seen them.

(Antagonists) - The protagonist is the main obstacle standing in the way of completing their objective without a hitch, and therefore, must eliminate the threat.

What are the actions the characters will use when reaching their objectives: (Protagonist) - he will run from the problem, not trying to confront it, but rather attempting to rid himself of the problem by abandoning the situation.

(Antagonists) - They will try and get rid of their 'witness', by means of kidnapping, execution, etc. because he has now effectively gotten in their way.

What are the ways and means the characters will use: (Protagonist) - He will use the city streets, alleyways, and his ability to run fast in order to dodge his assailants, darting in and out of establishments(?)

(Antagonists) - They will use skill and weapons to attempt to silence their witness, and control the situation.

What adjustments do the characters make when their actions/means don't succeed?: (Protagonist) - He will keep running, once he has been found out by the antagonists, and will continue to do so, until almost the very end.

(Antagonists) - They will take off after him, finding every possible thread to attain their witness, including where he lives, who is friends are, where he works, etc.

What realistic doings are the actors engaged in?: (Protagonist) - He will be running. Alot. Through alleys, streets, parks, sidewalks, across streets, etc.

(Antagonists) - They will be carrying a body, driving off in a car quickly, and hunting the protagonist down on foot.

Breakdown: 4 actors (total) required (not including extras)
-1 protagonist
-2 antagonists
-1 friend of protagonist

How many scenes each actor will be in:
-protagonist (almost all scenes)
-antagonists (body carrying scene, end chase scene, and final capture of protagonist
-friend (park conversation scene, end capture scene)

# and types of locations:
-Streets and alleyways (downtown)
-Apartment building
-More streets and alleyways

Special costumes and make-up required:
-'Cat burglar' or suits for antagonists to wear
-Street clothes for the protagonist/friend

Props Required:
-A sheet for the body carrying scene
-Someone's car
-A couple of fake guns

Locations Scouted:
-Streets including (front, main, monroe, madison, union (downtown))
-Alleyways between these streets
-Tom Lee Park
-Park parallel to Mud Island
-The backyard of my apartment, (Buena Vista)
- Court Square

Thursday, April 9, 2009

Update on new movie idea: Idea #1

       So sorry guys, I know alot of you have put in your 2 cents and encouraged me to go with the road trip idea (which was as good as the other two) but I think idea 1 just has something for me to explore. And I think as long as I can get my actors to cooperate and scheduling conflicts handled, then  things will go smoothly. 
       With that said, I've given some thought as to the elaboration of the circumstances surrounding the plot to the new movie. My main character will stumble upon what looks or sounds like a few people having an altercation in the apartment next to his, and later, he discovers two people carrying a body, but he is soon discovered in his observations and from then on, the chase ensues. On-foot chases, following in cars and on foot, and as the main character travels through his treacherous night, he befriends people and call upon his allies, some helpful and some who wish to throw him 'to the wolves' so to speak. This is the idea thus far, any suggestions, input on this extremely rough outline - feel free and encouraged to leave a comment, question, or snide remark.

Thursday, April 2, 2009

3 Ideas for my next movie...

Idea #1) - Sort of a 'fugitive on the run' kind of movie, with some action, some mystery, and some excitement. Chase scene(s) are something that i haven't done before, but something i have really been considering. As far as the actual content and story line of the movie, I want it to be about a man running from an organization or malicious group who have wrongly accused this man and framed him for something he didn't do. This goes right along with my manifesto and my infatuation with Albert Broccoli and the 007 series of films, as well as Alfred Hitchcock-esque suspense. This will also give me a great opportunity to craft extensive dialogue, which is something i have yet to do in my movies.

Idea #2) - Inspired by my work on the memory piece, I would like to tell the story of a young man who is dying (not sure of what yet), and how he comes to terms with his own mortality at such a young age, and the way he deals with it. I want to show the friends who are supporting him during his last days, and his thoughts on "the end", and what it's like to die young, and to not have the rest of his life ahead of him, as so many others will. Yet another opportunity to involve dialogue and monologue in my work.

Idea #3) - A 'road movie' - two, or three friends on a trip into the big city. Showing their trials and tribulations as they pass from state to state, seeking adventure, and coming across an assortment of characters along the way. this idea isn't as strong as the other two, but i like all three of them, because they would feature things i haven't yet done with my filmmaking, and have been itching to try.

Tuesday, March 17, 2009

Memory Pre-Production1: Rough Storyboard

After a nice week-long hiatus from classes, and with my attention focused internally, I began to think about elements of my memory, and the quality & symbolism of these elements. I spent time around the places where this memory occurred, and took in the atmosphere and environment of early spring in Texas. Although it occurred in May, March would have to do. Unfortunately it rained 90% of the time I was back home, so pictures and would have been almost useless. The sun was shining at the time my memory had happened, and weather permitting, it will be when I begin shooting. Although no photos can aid the observer at this time, I have provided a few sketches and visual ideas of what kind of sequence I have in mind.

Thursday, March 5, 2009

Video Response: Kenneth Anger's Kustom Kar Kommandos

The mood of the piece was nostalgically 1950s-esque, with strong sensual undertones. From the metallic curves of hot rod, to the white fluffy polishing cloth, even down to the female singer, singing "Dream Lover" throughout the course of the video. It had a vintage feel to it, but i think that may have just been the quality of the film, and the soundtrack coupled together. Either way, the film was intriguing to watch, and was slightly eerie to me, but i do not think that was the intention of Mr. Anger. I liked the comparison in sensuality and the automobile, almost as if the car was a woman itself.

Planning to shoot the memory piece

- I want to have a strong narration (either my own voice or the voice of someone reading words i write, as if they were me), and i want the narration to guide us through the movie, reciting the memory; not necessarily what i had written, but something along those lines.

- I want some sequences to involve real scenes, but i really want a lot of it to be a montage of imagery dealing with the subject matter, and not necessarily the people who are included in it.

- As far as sound goes, i want sound effects, but throughout, I'm considering writing and recording my own score on guitar, and through the magic of garage band, making it fit into the movie.

- Blurry, out of focus shots, i hope will emphasize the memory aspect on some scenes, but i won't over-do it.

Tuesday, March 3, 2009

Response: Feedback from the reading of My Manifesto

From reading my manifesto in class, the feedback i have received has led me to the following.

_ I need to refine my ideas, my beliefs, into a more distilled and commanding statement, more of a declaration of these ideas, rather than just a list under each category.

_ The class told me that the verbs and adjectives i have chosen to use in describing my work, my ideas behind that work, and even my loves and my hates are all good things to include, and that they help illustrate my point as well as indicate my passion for the things i have written down, and most importantly, the thinking behind my work.

_ I believe i should use my list of the things i love as well as the things i hate to further develop my filmmaking (including making something that uses all of the things in my love list, and also making something that uses all of the things in my hate list.) I'm learning that both lists can offer a new direction to my movies; whether it's something i add or take away, both lists could be extremely useful.

_ I should watch "Myra Breckenridge" with Sophia Loren.

_ I should challenge myself.

_ I should make something i love as well as something i hate.

_ This critique has helped immensely in the thought and consideration of my movies, but I'm still uncertain about how it will effect the outcome of my essay piece. I have ideas for how i want to shoot, and plan out some scenes, but the majority has yet to be fleshed out. One dilemma is that I'm not exactly sure how much of my characters i want to show, and how that will impact the piece as a whole. i do know however, that the use of a voice over has been a huge consideration as far as the actual telling of the events goes.