SHOT
LIST
Scene 1
The Apartment
1. Long tracking shot. The shot tracks across the desk and past the window,
making sure to aim focus on the various objects and elements of the room
we want to highlight and link in later. It then tracks across the bed and
round to the door where Sarah will walk into frame, the camera will pause
for a second so she can deliver her line then it continues round the
corner to the hall just in time for Mark to walk in the door. The
shot ends as Mark enters the kitchen which is to his right (audience’s left).
2.
Mid shot. In the shot we see more
dialogue between the characters, it can be a static shot facing the
doorway, allowing Sarah to block the entrance and Mark to be moving around
in the foreground.
3.
Close-up. This will be facing Mark as he tries to get past Sarah. The shot should
be over her shoulder so the audience can see her reaction.
4.
Mid
shot. This shot is an opposite to the end of the tracking shot, facing the
back wall as opposed to the front door, Sarah is in the foreground and
Mark stops to respond in a harsh tone.
5.
Mid shot. This shot will be from inside
the bedroom, facing the door. Mark will walk in followed by his sister and
their argument will escalate.
6.
Close-up. A close up of Sarah as she
puts on a scarf and says he goodbye. She
then leaves and the camera pans to show her exit. The shot holds until
we hear the front door slam although it is out of shot.
7.
OTS shot. An over the shoulder shot of
Mark as he looks at the contents of his parcel. The drugs. He then moves
his hand up and gulps the blotter before looking into the mirror opposite.
If we are clever we can organise this so that the camera moves up with his
head yet is not seen in the reflection.
8.
Close- up. Close-up on the blotter reveals the image of a soviet star. To
but cut into shot 8 before he drops it.
9.
Static focus pull.
Here we see the postcard in the foreground which is in focus until
it shifts to focus on the book in the background. I would like the camera
resting on the desk for this shot which should end with Mark’s hand picking the book up.
10. Mid shot. Doing
the last shot in that way will allow us to then place the camera on the
desk where book was resting so that it faces the book in Mark’s hand.
He then turns and flops on his bed to begin reading.
11. POV shot 1. This
is a highly technical shot consisting of Mark’s perspective as he reads the
book, we want to keep the book in a fixed position filling the screen so
we can transition to the new ‘trippy’ room layout.
12. POV shot 2. This
is the same shot as before, however when Mark moves the book, the room is
dramatically different highlighting the fact
that he is now high as hell. Depending on how we feel here we can zoom the
camera toward the window to allow us to transition to the stars and other
visuals.
Scene 2
The Dream Building
13. Wide Pan shot. Here is the establishing shot for this scene, Mark will wake
in the middle of the room and the camera will pan, following his movement
as he explores the room. When he hears the voice and Mark lurches into action,
the camera will follow him as steady as possible. If this does not work effectively we can break up the shot but I’d
like to try this. We can choreograph this shot to allow the cosmonaut to
rush past the camera adding to the tension of the scene.
14. High angle shot. Here I’d like to cut from the previous shout when
Mark reaches the stairs. Then we can cut to the top and film him looking
up and slowly ascending.
15. OTS shot. I’d
like then to move to a OTS shot so that the audience
can have the writing on the far wall revealed to them just as Mark reaches the top of the stairs. If
we’re feeling particularly avant-garde we can attempt Mark running toward the
writing whilst the camera slowly tracks around him until he is in front of us.
This will be a nice way to reveal the cosmonaut
behind him.
16. Mid shot. Here
dialogue between the two commences, I thought of having a shot from the side of
them so that we can see they are looking at
each other from a distance.
17. Close-up Cosmonaut
18. Close-up Mark
19. Close-up Cosmonaut
20.Close-up
Mark 2These shots require little explanation; refer to the script for each
line of dialogue. During the last close-up of Mark he moves forward toward the Cosmonaut.
21. Mid shot. This
shot is the same as the previous mid shot, this time Mark is closer but
there is still some distance between them. Mark looks cautious.
22.Close-up
Mark
23.Close-up
Cosmonaut 3These are more dialogue shots.
24.Mid shot. This is another of those mid shots to show
the cosmonaut holding out his arm. Mark hesitates but then takes hold of it.
25. Close-up
Mark 4 Shows Mark looking at the hand and hesitating. To be cut into the previous shot.
26.Close-up Cosmonaut 4This
is the final shot in which the surroundings go white. This is a straight
up shot of the cosmonaut, in order to transition it with a close up of
Sarah when they reach the next scene.
Scene 3
The White Abyss
27.Close-up of Cosmonaut
28.Close-up
of Sarah. These two shots should meld together to show the cosmonaut
transitioning into Sarah.
29. Mid shot. Similar to the shots before, I want to show
the two siblings holding hands and then have Sarah run off and Mark chasing
after.
30.Long
shot. Here I want to show Mark running into shot from a foggy background,
he is searching for Sarah. He stops when here reaches mid-range and the
hallucinations and voices start, the camera follows him down as he falls to his
knees. Here I’d like to zoom in on Mark a
little and have him cowering and trying to block it all out. This
could be a long take as we want to get it really right here.
31. Long shot. Here I would like to have just blank white space in this
shot to cut in when Mark looks around frantically. It could act as if it
was POV.
Scene 4
Hospital Corridor
32.Long tracking shot. Here
is the final shot of the film, the camera tracks up the corridor slowly toward Sarah who turns and
looks past the camera.
Credits Roll.
