Showing posts with label Planning. Show all posts
Showing posts with label Planning. Show all posts

Monday, 8 February 2016

Film Synopsis (First Draft)

20-year-old Jake Hudson wakes every morning to a bleak and sombre reality. He wakes alone, and goes to bed alone. Commuting to work in a dead end job to be worked to his wits and sent home again later that evening. Day in. Day out. One morning, on the walk to his bus stop to work, his life changes forever.

Before arriving at the bus stop, Jake crosses one of the few roads that allow him to get there. As he steps out onto the road, Jake suddenly gets struck down by a hit and run driver, cutting to black just in the knick of time as tyre screeches fill the air.

As his vision returns, a figure stands towering over Jake, who is lying on the floor. Dressed in all black robes, a pale woman stands above him, her lips stained red from lipstick. She reaches out and helps Jake from the road. After cleaning himself up and checking for any signs of injury, the character is revealed to be a woman by the name of “Ezra Eil” (later revealed to be Ezraeil), who says that she’s here to help him. Jake, being confused by this, thanks Ezraeil for her help but assures her that he is fine and not in need of any help. He leaves her behind and travels home to rest.

Whilst at home, Jake tosses and turns, unable to sleep. He slowly rises from bed and walks downstairs to the kitchen, enveloped in darkness. He flicks on a lamp and drags his corpse-like body to a cabinet, where he pulls out a small bag of marijuana - a part that seems almost essential to him in the way of getting a decent night’s sleep. He removes several buds and crushes them up to create a joint, in the hopes it’ll soothe his insomnia. However, he is sent wheezing at the first drag, an unusual occurrence for the 20 year old. After his cough had subsided, Jake lays slumped in one of the armchairs, unmoving but awake. A digital clock in the room begins counting up quickly, despite Jake appearing frozen in place. 11PM. 12PM. 1PM.

Jake jolts upright from his slumber, hearing a crash from the kitchen. As he gasps for a lungful of air, he creeps into the kitchen slowly. Two children’s laughs are heard as their feet patter through the house quickly, the second shadowing its leader’s. Jake follows to investigate, leading him to the dining room. On the floor, two young children sit, rolling a ball to each other; giggling as they do so. Panicked, Jake asks what they are doing in his house and how they got in, never given an answer. Instead, the boys turn their heads at him and ask what he’s doing in their house, and that their dad will be very mad if he finds out. Jake’s mind is sent into a frenzy of questions and pure fear. Who are these children? Is this their house? Why will their father be mad? His mind in overdrive, Jake drops to the floor, fading to black.
Waking sharply again, this time to the sound of his alarm clock, he pushes himself to his feet, questioning “what the hell happened last night” and why he had awoken on the floor, his apartment empty. Ignoring the events of last night to be the happenings of a vivid nightmare, Jake continues his habitual morning routine. Making coffee, preparing and eating an omelette, brushing his teeth, his hair and then getting dressed – all before leaving the door for another run-of-the-mill day at work.

Upon arrival, Jake walks through the sea of filled cubicles whilst greeting colleagues (to be completely ignored) and almost bumped into on several occasions. Jake sits down and gets his head into the work. Over time, he loses his focus and instead eavesdrops on a conversation between three co-workers who were talking of rumours that someone had “left” – one even stating that they “didn’t know he even worked with them”. He then realises his lack of attention and returns to working until the day comes to an end.

Outside of work, stands Ezraeil, whom he approaches to ask why she was here. Ezraeil dodges the question and asks how he is, to which he informs her of his experience the night before. Reminding himself of the experience, he decides that he should see a doctor for any help he can have in explaining last night’s happenings. Ezraeil nods and walks off without saying a word.

The scene crossfades into one of Jake in the Doctors office. A large gold plaque covers one of the walls, talking of the conversion and refurbishment from the old Victorian era building that used to be the Doctors office, into the new one. Jake spots this and thinks nothing of it, before attempting to get the attention of a receptionist, without any luck. He marches over and sees a Doctor who isn’t tending to anyone within the waiting room. Jake introduces himself and asks for a consultation. The Doctor (Dr. Kevin Hewett) leads him into the room where Jake tells him of the previous nights’ events. The Doctor knows not the problem and prescribes him some antiquated medication used to treat anxiety. Which; we find later on, does nothing for Jake, so he quits the course.

Due to his nightmares and anxieties haunting him, he becomes exhausted, breaking down in front of Ezraeil. She instructs him to follow her, telling him that everything will be okay.
She leads him to a hospital, Jake confused as to why he’d been shown this. She silences him and leads him in, walking straight past all receptionists without them batting an eyelid, adding to his confusion. Ezraeil makes a bee-line for a specific door, standing in front of the window’s view before turning to Jake and telling him that he’s “ready”.


She opens the door to reveal Jake, laying there in a hospital bed, attached to various life support machines. Upon seeing this, Jake sobs silently, observing the vessel on the bed before asking her what had happened. She tells him that he’d been hit by a car, leaving him in a coma and that he’s not going to make it. Jake, rather than crying, assures Ezraeil that he is indeed ready, before kissing her and fading away into the white light, the cardiac monitor slowing to a single, long beep.

Synopsis Initial Ideas

Jake is a young adult who lives alone, works a dead end job and lives a run-of-the mill life. During his daily commute, a hit and run driver strikes him down, cutting to black.

Since the accident, the character is tormented by visions of people and events that have occurred in the surroundings he is in, triggered by familiar objects (for example, a toy used by a child from a different time period)

He continues to live his usual life despite being a ghost, unable to interact with the people around him. Due to him being an outcast, he doesn’t hear that he is dead, and was rarely seen around even when alive.

The ‘spirits’ of these people may be terrifying, however they cannot harm the living directly despite interacting with the environment, much like real paranormal phenomena whilst being unable to be seen.

Jake visits the doctors, which is built upon the site of a Victorian infirmary, as a plaque states. The doctor only Doctor that Jake can seem to get the attention of is Dr. Hewett (who was the doctor on this site during the Victorian era). After a visitation with him, Jake is put on various prescription medications to try and ‘treat’ this despite never actually being diagnosed with anything

He is the only person who experiences these visions, despite them being visible to the viewer throughout after the accident.

 The viewers are also the only ones who can see that the character has in fact been dead since the event where he crosses the road. The reason he can view the spirits is that he is in a state of limbo, meaning he can leave his vessel (body) but is a spirit from there and not a real person, leaving his vessel on the floor.

He eventually discovers his dead body after Azrael takes him to see her friend as he is “ready” – the film ends with him getting kissed by Azrael and thusly accepting his death.


This was written to give me an idea as to the key events, characters and resources that I'd need to make this synopsis and everything that follows (e.g. Key frames)

Sunday, 7 February 2016

Casting Considerations

During the planning stages of my project, I had to decide upon actors and actresses that would best suit the style and imagistic ideas that I had, making sure that they complimented the plot.

For example, when writing the character of Jake, I wanted to follow the archetype that was set through the protagonist of my film of study, Donnie Darko. This meant having a character that coild be compared to Jake Gylenhaal.

For me, this meant that Jake had to be a dark haired, mysterious, young man. much like Jake Gyllenhaal (pictured below).

The name for the protagonist in Deadbeat was; in fact, named after the actor who played Donnie. Subconsciously, I think I found myself writing the character of Jake to be played by my good friend Shivam all along. and imagined him acting in all the events of the plot I had written. I had also written to accommodate Shivam's style of acting whilst also making sure that I kept Jake feeling real and relevant to the plot.

Physically, Shivam (pictured below) looks similar to Jake Gyllenhaal, in the fact that both could be described to be Dark, Mysterious and even brooding at times. I felt that Shivam was the perfect choice as soon as I had begun writing and establishing ideas on how I wanted Jake to look and present himself to the audience.

The other character I had within my keyframes was Ezraeil, based off of the Hebrew 'Angel of Death'. Despite Azrael being the most common name for this Angel of Death, it can also be spelled: "Izrail, Azrin, Izrael, Azriel, Azrail, Ezraeil, Azraille, Azryel, Ozryel, or Azraa-ee". I settled upon this spelling as I felt it was the most appropriate and similar to the name Ezra, which is a name often giften to both genders.

Azrael is often pictured to be a male (as seen below), however, I wanted to create a female Angel of Death as I felt that having a woman to portray such a role would suggest that death isn't always a harsh part of life, and I hoped that I could bring light to that by making Ezraeil a calming, soft character.
I wanted Ezraeil to be an innocent, angelic looking pale woman, with dark flowing hair, I found these exact features in another friend of mine, Hannah. Hannah was perfect for the role and, in real life, is the quiet, mysterious type that you'd expect Ezraeil to be.


Hannah fit this role perfectly, being an angelic looking young woman, whilst also being grounding and convincing with the storytelling, shown in her acting.

Key Frame Ideas (First Draft)

Key Frame 1:

The first shot in the story, this would be of Jake waking up from his sleep in a blank, minimalist room, with a monotone colour scheme. This would be an aerial close-up shot, placed above the character, to show his eyes opening suddenly and the order of the room. This takes inspiration from the following shot from feelgood romance Garden State:-




Key Frame 2:
This shot shows Jake standing all alone on the bus stop, with cars whizzing past in a blur. This would be achieved by setting the focus on Jake and then adjusting the exposure of the camera to a long exposure and have our actor stand as still as possible for the longest time that they can.

Key Frame 3:
A shot of Jake holding on to a rail of a public transport service, his head down and earphones in. This shot is also a close-up to introduce the intimacy we can gain with this character through the emotion of empathy. The shallow focus sets Jake apart from the scene, showing his isolation from everyone and the idea that he is alone. The colour scheme is very monotone and sets the scene to be quite bleak, a metaphor for how Jake’s life is.

Key Frame 4:
Another shot set in shallow focus, a close up placed upon of the left side of Jake’s face, showing the oncoming car in the blurred background. The shot also shows Jake with his headphones in, giving away the cause of his distraction.  His head filling one and a half of the two thirds, the car in the last; right most third.

Key Frame 5:
Extreme close up of the shocked eye of Jake, the car being relatively close in the reflection of the iris. The car is has some motion blur indicating the speed as to which it was travelling. This is a very intimate shot, showing the fear in his face due to the use of an extreme close up and emotiveness of the eye.

This is based on the MC Escher painting “Eye.” – seen hanging in Donnie Darkos’ room. The eye has a skull in it, alluding to thee subject being about to die, much like in my key frames, with the car being reflected in Jake’s eye.

Key Frame 6:
Extremely shallow focus on Ezraeil’s hand reached out to Jake, done in a POV style. The closest part to Jake’s face, the hand, is in focus whilst the rest is not.

Key Frame 7:
Jake and Ezraeil are facing eachother, filling either side of the Rule of Thirds, Ezraeil has her hand on his face. Jake looks confused whilst she stands looking warmly at him.

This is based off of the when “Grandma Death” whispers to Donnie in Donnie Darko, alluding to Grandma Death being Ezraeil and Donnie being Jake.

Key Frame 8:
The bed he was asleep in from the first frame is now messier, the sheets scrunched up and laying underneath him. The shot is taken from a high point above him. He appears to be in discomfort and is tossing and turning in his sleep. (Potential long exposure blur of him tossing and turning?)

Key Frame 9:
This is a shot of Jake sitting in an armchair in his house, asleep with a lit joint still in his hand. The time displayed on the digital clock is overlaying the bottom of the screen, transparently -  showing the time at which he finally slept (1AM). See reference below, compiled of two pictures.




Key Frame 10:
A Dutch (canted) angle on Jake, clasping onto walls either side of a corridor to support him, heavily based on the 360° rotation shot in Donnie Darko’s party scene, showing psychological unease.

Key Frame 11:
This frame shows an over the shoulder shot of Jake, looking at the two boys sitting in on the floor rolling the ball to each other. They’re wearing clothes from their period in time and dark rings around their eyes, obscured by the darkness and blue-y tone of the room. This tone is taken from Donnie Darko as the supernatural events in that film often have the same colour association. The scene is shot at a ‘Dutch Angle’, which demonstrates “psychological unease”.

Key Frame 12:
A shallow focus close up of Jake lying on the floor, face down after he’d fainted. He looks very confused and is in a little bit of pain. This still could be skewed to add the uneasy feel to the scene.

Key Frame 13:
Jake is shown walking through the office, amongst a sea of cubicles, no one is paying attention to him as he’s keeping his head down low. The office is very monotone and everyone is wearing darker clothes, suggesting that they’re mourning, without being too obvious with it.

Key Frame 14:
The cubicle divider, often found in offices, divides this shot. On one side, is Jake; sat at his keyboard, the other side has a man and a woman co-worker having a discussion over coffee; immediately on the other side of the wall. This divides the screen in half and therefore becomes a metaphor to the isolation of Jake as a character, whilst also associating him with them due to the context of the co-workers’ conversation, as if almost juxtaposing them.

Key Frame 15:
This key frame is a long shot of Ezraeil and Jake talking, obscured by those passing by in front of them. This is done through a time-lapse method, similar to that of Key Frame 2, where it uses the movement of cars, rather than people. The long exposure in this would make the crowd blurred by motion, meanwhile Jake and Ezraeil would remain in focus as they’ve remained still. This is taking reference from the picture below, which displays my desired effect.
Key Frame 16:
This shot is an over the shoulder close-up of Jake reading the plaque within the doctors office. Rather than create a real plaque, a photo is taken from either side of Jake. The one of his front is used for the reflection in the plaque whilst the other is the shot itself.

Key Frame 17:
The next keyframe shows the doctor reaching out to Jake, passing him a small bottle of pills. Once again, the scene is set about in a POV shot and is from the perspective of Jake. Dr. Hewitt’s fingers and the pill bottles are in focus, with the rest of him (and the background out of focus). This would involve a pull focus from one depth of field to the other if the shot were in a movie.

Key Frame 18:
This shot shows Jake sitting on the end of his bed, his head in his hands to show he’s still tormented by the nightmares. The room is even more of a mess and he sits alone in the middle of the dark bedroom once again. This is a long shot with deep focus to show all of the mess within the room, Jake is found on the left side of the rule of thirds, amplifying the fact that he is alone.

Key Frame 19:
This shows Jake standing next to himself, in a hospital bed, in a coma state. Jake is shown standing with his back to the camera, as if he’s hiding his emotion. Ezraeil is shown also with her back to the camera, but standing farther back, nearer to the camera and off toward the wall more. This shows the importance of Jake in this scene and how Ezraeil allows Jake to be alone to recollect his thoughts toward the situation. - The light level in this scene is high key and the light is bloomed to almost replicate the imagery associated with Heaven. Long shot of the room.

Key Frame 20:
Extreme close up of Jake kissing Ezraeil’s lips. The light from behind their lips (directly opposite to the camera) flares up in the shot as it’s so high key, representing the journey to Heaven or escape from limbo. The lighting is white and very soft, like the bloom effect mentioned in Frame 19.


This soft lighting effect can be achieved with a polarising filter. Seen above in The Perks Of Being A Wallflower, the same effect can be seen.