Short& Sweet Productions

Bryan Stephens

Michelle Sweeney

Becky Devault

Lauren Primrose

Preliminary Research

authors contemplate whether or not creativity is an individual characteristic within us, or

-specific capital that

circulates in society. If an individual has an inspiration for a creative work, the inspiration is

viewed as an abstract, communal concept. Inspiration uses the human body to manifest itself in

our culture.

Taking this idea that inspiration is an external force, we re-read the Tale of the Shoe

Cobbler. In short, the story is about old shoe cobbler who is too weak to cobble shoes. Magical

elves come out at night and cobble the shoes for him while he is asleep; this gives him money to

eat and allows him to buy more supplies. From this story, we found a way to make the abstract

concept of inspiration into a tangible thing that exists in the environment. Rather than use elves,

we used spiders. Both are metaphors for inspiration

through the tangible source which in our case is a spider.

Originally we felt the film would be great as a computer animated graphics piece

(something Pixar would do). Specifically, we looked a Wall-e, in which we would have made

the first half of the film without a spoken word. However, because dialogue was such a crucial

part of the project, we decided that a more realist feel would be appropriate. Other noteworthy

preliminary research involves Google searches of New York studio apartments (warehouse style)

and murals.

Bryan Stephens, Michelle Sweeney, Lauren Primrose, Becky DeVault Telecommunication T206 Group Treatment T itle: -spiders T agline: In a dark and rundown New York Studio Apartment, inspiration search for staving artists. The film uses the natural blithe of animated characters to playfully explore the mysterious origins of inspiration. , the audience senses the stifling darkness that traps artists and sees the enchanting and sometimes infectious inspirations that help them escape. The film crafts an interpretation to the illusive wonder of originality, yet liberates the imagination to explore the implications. The airy film touches the emotions of the entire market for 25 minutes by balancing the frustrations and pleasures evoked in analyzing eternal problems with no right answers. Under the poor lighting of the desk lamp, a painter sits at his desk, doodling in frustration. As a creature positioned above/behind the painter, we crawling down the wall, across the floor, up the

glimpse of something slip into the darkness. Beginning to stand up, sweeps over his face. He snatches his pencil and his hand moves with alacrity across his small canvas. The desk lamp grows brighter over time. He eventually throws the pencil, grabs his palette and brushes, walks to the largest wall in the room, rips down posters of Andy Warhol and 2001 Space Odyssey and begins to paint a majestic mural. The mural begins to illuminate other parts of the room.

old and tattered sitting chair staring at blank staff paper. He notices the commotion and after a few seconds of watching the painter, he stands and walks 4ft behind the painter to watch the masterpiece in creation. After the mural is completed, the musician stairs blankly at the painter; he show the painter his blank staff paper and shrugs. Again seeing through the eyes of the creature, position in an identical angle above/behind the musician, we crawl down and across the floor, up the musicianthe left arm. The musician jerks in response and something again scurries into darkness. Suddenly the musician swings round to the mural, stares for several seconds, and then starts taping his foot. He quickly starts pacing the room and scratching graphite symbol on the staff lines. His steady hand moves in the same consistent movement as the painterand more light . He lays down the staff, walks to his guitar and starts playing a pleasing med/high tempo guitar piece. When he gets to the high speed-pick solo, light illuminates more of the room. The additional light illuminates two other flat mates in the adjacent wing. Hearing the music, filmmaker behind a camera stops directing a dancer on a makeshift set. Both seem frustrated with their work, evidenced by bloodshot eyes, matted hair, and unkempt/wrinkled attire. The two mates walk between the mural and the painter. The filmmaker, scoffs at the music and painting and returns to his camera. The dancer holds position for a minute and begins walking back when we again become the creature above/behind the dancer. We the crawl down and across the floor,

up her leg, and bite her on the shoulder. Reflexively she know the creature off which cannot immediately escape do to the light but eventually does. She keeps walking for two steps, stops, and returns to the mural where the painter is touching up the edges. She begins to do a delighting interpretive dance. The filmmaker suddenly appears next to the musician and mutes the strings. The musician, dancer, and painter stop and look at the Filmmaker. He asked how they got their ideas and the painter raises his arms in thought. The filmmaker sees a bright red bump on the underbelly of his arm. The musician notices the same bump on his arm, and the musician notices the bump on her shoulder. The filmmaker begins turning over furniture, books, papers, pens, brushes, but finds nothing. He collapses at , exhausted, and sulks with his head tucked in his left arm.

ilmmaker; he - about to crawl on his arm. Instinctively his smashes it. Moments goes by; images showing the flash. All four characters stare at each other, realizing what the filmmaker had done. With a hopeless expression, the filmmaker walks back toward the camera. Suddenly he stops; he looks back and forth between the guitar, the dancer, and the mural. Then he rushes to grab blank paper and begins to draw a creative storyboard. After some elapsed time, he shows the storyboard to the other three characters; their mouths drop in amazement. Briefly he examines his arms, hands, legs, and shoulders; then smiles. A flash transitions us to a theater and we see a black screen with word crowd in standing ovation and close up of the 4 characters, each smiling and wearing tailored suits and the dancer is in a glamorous dress. The theater clears and the filmmaker stays. He smiles. He then turns his head to get up a leave and the camera captures a red bump on the back of his neck.

Screenplay

1 INT. STUDIO, ARTISTS DESK- NIGHT 1

The painter’s silhouette is seen by the faint light of olddesk lamp. He is seating, crunched over a group ofdisorganized, half-completed canvas lying on the desk.

PAINTERUhh! This is all shit!

He grunts in frustration and throws his paintbrush at thewall; it recoils hits him in near the eye socket.

PAINTERAh perfect (sarcastically as hehold his eye). This shit sucks evenif your blind.

A spider-like creature crawls along the floor, up the deskand bites him. He jolts upright and looks around a bitdisoriented. Suddenly, he manifests a contemplativeexpression, grabs his brush and begins to paint on thecanvas.

PAINTERYes. Now a little... perfect. NowI’m getting somewhere.

He stops brushing mid-stroke, grimaces at the canvas, andthen slowly rotates his head to the wall on his right-handside.

2 INT. STUDIO, MURAL WALL- NIGHT 2

The PAINTER springs up from the chair and paces to the wall.He tears down a wrinkled 2001 Space Odyssey poster and animpressionist styled canvas and begins to feel the texture.

PAINTERThis might work.

He walks back to base of his desk, grabs a artist utilitybelt, paints, brushes, and palette. He returns to the wall,drops the supplies; As he paints with quick, fluid stokes,the wall seem to emit more light.

3 INT. STUDIO, MUSICIAN’S CORNER- NIGHT 3

The light emitting from the canvas slowly illuminates theMUSICIAN sitting on a wooden stool in a corner of thestudio. The musician, who is turning her guitar, slowlyglances up and is dazed by the light. Her eyes notices the

(CONTINUED)

CONTINUED: 2.

animated motion of the painter. Interested, she walks overto the mural and stares in amazement.

She coughs to get the Painter’s attention; the sound doesn’tfaze the him. He continues to work as if he is in a trace.

MUSICIANHey...so I know you never like theposter but I don’t he’ll go for theground.

Painter continues to work.

MUSICIANDude!

Painter continues to work.

MUSICIANAre you serious right now!

(taps painters shoulder)

The Painter jumps, clearly startled. He looks at brush andslowly looks up at the mural. He pedals backward a few pacesand stairs at what he has just created.

PAINTERI...ah..was...well, I guess I wasjust gettin some work done?!

(pauses and looks at Musician)Well, what do you think?

MUSICIANI like it...but I don’t think Mr.Kubrick would feel the same way.

(reassuringly)No, really, I like it.

PAINTERI don’t know what came over me. Thecanvas, it was just so small. Somuch pressure had bottled up. If Ididn’t release it, I would of likeexploded....I... I actually reallylike it.

MUSICIANLets just say it’s a hell of a lotbetter than this.

(Holds up blank sheet music)

(CONTINUED)

CONTINUED: 3.

PAINTERStill got nothing?

MUSICIANNah, I guess I to drink whateveryour having.

The Painter grins and the Musician starts to walk back tothe corner.

4 INT. STUDIO, MUSICIANS CORNER-NIGHT 4

The MUSICIAN is pacing around her stool and sits down infrustration. A bug crawls up her leg. She gets bitten andsuddenly recoils.

MUSICIANOuch, dammit!

(drops sheet music)What the...?

(turns head from side to side)

She stands up and begins to pick up her music sheets. Shehears distant brush strokes from the painter’s brush and herfoot starts to tap the ground. She drops papers she had beencollecting, stands up straight and closes her eyes.

MUSICIANThat’s it!!

She swing around the guitar and begins to walk toward themural.

5 INT. STUDIO, MURAL WALL- NIGHT 5

The MUSICIAN stands with her eyes closed a few feet behindthe PAINTER, who is still touching up the mural. Feeling thethe rhythm of the brush strokes, she begins to play a song.The Painter looks over his shoulder at the Musician andstarts to nod to the beat.

PAINTERThat’s pretty good. Who ya playin?

MUSICIANI’m not. Just whatever feels right.

The Painter smiles and returns to his brush. The song’stempo rises and he start to sway and bob as he strokes. Morelight is emitted from the mural wall.

4.

6 INT. FILMMAKER SET- DAWN 6

The light radiating from the mural illuminates a strugglingDANCER on a makeshift film set being directed by aFILMMAKER.

DANCERI like what’s going on over here.

(Pointing at the mural. )

Filmmaker looks angrily from behind the camera.

FILMMAKERSeriously, can you focus for morethan 35 seconds? Fuck man.Actually, don’t try it, you mightstart seizing.

DANCERChill out man; we’ve been crazyworkin for hours. Lets get someair, maybe check out pretty-boy andthis sick jam.

FILMMAKEROne month my friend; that all wegot left before they throw us outon our asses. AIR is not a luxuryas we have at this point.

7 INT. STUDIO, MURIAL- NIGHT 7

The dancer ignores the remark and walk toward towards themural with an excitedly grin. The filmmaker rolls his eyesand sluggishly follows. Both watch the PAINTER and theMUSICIAN.

FILMMAKER(sarcastically gesturingtowards the Musician)

Great; another blunt smokingjam-band guitarist, haven’t seenthat before.

DANCERThat too harsh. There’s clearlystructure; and that beat...

(song comes soft section)Right on. Hell even pretty boy’sdoing something worth while.

(CONTINUED)

CONTINUED: 5.

PAINTER(Over his shoulder as hepaints)

Hey man, I’m not the one in tightsright now.

DANCERPlease; you wish you had thisdefinition. You know, you couldpull this off if you’d eat morethan soy and salad and maybediscover the gym.

PAINTERI’ll just let you be the bigger ass

FILMMAKER(looking at the poster underthe Painter’s feet)

You know it was just sticky tack.(Dancer snickers)

Filmmaker scoffs at the painter and dancer and stalks backto his camera as the song comes to can end.

DANCER(to Musician)

Seriously, that was sick. Neverheard you play anything like it.Been working on for very long?

MUSICIANNo I just heard it coming. I justgrabbed the neck and it practicallyplayed itself.

DANCERStrike that rhythm up again; itwill help me drone out the bitterold man.

The Musician starts to play and the Dancer drags his feetback toward the film set. The spider-like creature suddenlylowers from the ceiling onto his shoulder, bites down andthe Dancer jolts in reaction. The Dancer begins to takeanother step and stops mid-step. He spins around and beginsexperimenting with dance moves. He glides in front of theMusician.

MUSICIANDamn boy!

6.

The painter observes in amazement for seconds; he then turnand starts to hum and soft, rich tone while finishestouching up the work.

8 INT. STUDIO, FILMMAKERS CORNER- NIGHT 8

The FILMMAKER sulks in a hard wooden chair next to hiscamera. From the corner, he stairs at the PAINTER, MUSICIAN,and DANCER as the continue to create in the background. Hesnaps his head around as if failing to locate something.

FILMMAKERAmusing; they doddle for weeks; noresearch, no brainstorming, nowork... and then.... aww hell.

Filmmaker reaches down toward a small cabinet and pullshandle.

FILMMAKER(looking at his hand)

What that fuck!

There appears to be a pastel green ooze smeared on thisfingers. He wipes the substance on a blank sheet ofparchment on top of the cabinet. He reaching inside thecabinet and pulls out a half-empty bottle of single maltScotch and glass. He then pours a generous portion and takesa long sip. The raises his arm to take another and stops; hesets down the glass and starts to advancing toward themural.

9 INT. STUDIO, MURAL- DAWN 9

In their near-unconscious state, the PAINTER, MUSICIAN, andDANCER did not see the FILMMAKER standing directly in frontof them. The Filmmaker mutes the guitar’s strings with hishand. The Musician stops strumming and opens her eyes, theDancer stops his feet, and the Painter drops his brush. Asif a trance has been lifted, the three characters shaketheir head and turn toward the Filmmaker.

FILMMAKEREnough!! What the hell is going on?We’ve been working in thisshit-hole for weeks without makinga god damn thing. Hell I wouldn’teven show my mother the shit youbeen making. Now what *pause* am Isupposed to believe that Zeushimself decided to get off his ass,

(MORE)

(CONTINUED)

CONTINUED: 7.

FILMMAKER (cont’d)take 3 of his most beautiful bolts,load in some acid strike you fools.Now I know I’m not a churchgoingfella, but I’d say that Fatherhimself would laugh if he heardthat 3 miracles were granted at thesame time, within pissing distanceof each other.

(others shrug and exchangeglances)(To painter)

Well *pause* you started this.

PAINTERUhh. I guess I don’t really know. Iwas painting something a fewminutes ago, not my best work. Ithink I was about to quit when itjust hit me. An image and emotionconnected *pause* it was so clear;my hand just wouldn’t stop.

MUSICIANHell I couldn’t get my start.Everything that came to mind wasjust garbage. I saw pretty boygoing crazy on the wall. Gottasay, compared to shit he’s beendrawing. Then I heard music;

(close-up of paintbrushstroking the wall)

I thought somebody had turned onthe radio next door; but I wascoming from me. I don’t know, Ijust started playing.

DANCERYou better write that shit down. Itwas like the song you wrote lastweek, only good.

(gets punched in the arm)Damn girl, just sayin. I wasn’timpressed at first but thensomething...

(does a quick dance jig)clicked.

(extending his arm andsnapping his fingers)

PAINTERDamn dude, check out your arm.

(CONTINUED)

CONTINUED: 8.

(grabs the Dancer’s arms,examines the moderate sizedred bump)

Probably a spider bite; I gotnicked couple weeks ago, althoughit was bit smaller than this.

DANCERHmm... I’m not not that surprised;this hell hole is full of spiders,roaches, and other critters. Otherday, saw termites.

MUSICIANThis building is metal you idiot.

DANCERMusta heard you playin last weekand came to eat that guitar; saveus all.

(Musician rolls eyes)

PAINTERYo check this out. I got one too!

(lightly squeezes the bump andactivates a pastel greendischarge)

MUSICIANEww. You guys are filthy; maybeif... damn; I have a bite also.

PAINTERYou don’t think...

FILMMAKERShut up. Seriously, you guys mustthink that I am stupid. I listenyou babble on, thinking you’d havefun with your little prank for awhile and then confess. That stuff

(pointing around at the mural,guitar, and Dancer)

is great; all three of you mustacoordinated for weeks. Now *pause*we all have deadlines and we agreedto help each other. I will notstand for such selfish ideahoarding when my career is on theline.

(CONTINUED)

CONTINUED: 9.

PAINTERSeriously, check my sketch pads;this just came outta nowhere.

(Dancer and Musician nod theirheads)

FILMMAKERFine.

10 INT. STUDIO- NIGHT 10

The PAINTER, MUSICIAN, and DANCER watch the FILMMAKERboorishly flip over papers, sketches, sheet music, books,and furniture. In anger he swipes brushes, paints, andmaterials off the painters desk. Exhausted, he collapses onthe desk chair from and folds his face in the crevice of hisarm. A spider-like creative peers over the desk edge andbegin crawling toward the Filmmaker as he begins to lift hishead.

DANCERYo man, chill out.

MUSICIANSeriously, we are not messing withyou. We just got lucky today.

As the Filmmaker lifts his head, he spots the spider-likecreature--*SFX:smack*. The same pastel green ooze splatterson the desktop

FILMMAKERDisgusting.

The Painter, Musician, and Dancer all look at one another.

PAINTERDo any of you remember when, ormore importantly what gave youthose marks.

MUSICIANIt definitely wasn’t there lastnight.

DANCERMine either.

FILMMAKERSo I’m supposed to believe that amagic spider told you to make thatthat.

(CONTINUED)

CONTINUED: 10.

(point to mural)And writes hit songs; And dabblesin choreography on the side.

MUSICIANYour right genius; we should ignorethe fact that 3 of our greatestworks occurred at the same timethat we all get the same crazy bitemarks. Much better idea.

The Filmmaker suddenly gets a mental image of him openingthe cabinet with scotch and seeing the same pastel greenooze on his fingers. He is restored to reality. He thinksthen shakes his head.

FILMMAKERSorry to disappoint you, but Idon’t depend on magic bugs for myideas. If you don’t mind, I’ve gota deadline on my own.

He stands up and walks toward his camera.

11 INT. STUDIO,CENTER OF ROOM-NIGHT 11

The FILMMAKER takes a few steps, stops, and turns to mural;he then bends over and picks up sheets of paper that arescattered from his rampage. He begins to draws; his handmove faster with each minute. He paces back and forth for 10minutes while he writes and draws. In the background, thePAINTER, MUSICIAN, and DANCER had notice the Filmmaker’swriting and chatter quietly in anticipation. The Filmmakerfinishes a rough storyboard and calmly stairs at the mural;the other characters approach him.

PAINTERWhat were you doing?

FILMMAKERWell, read this and see foryourself.

(handing over the papers)

PAINTERThis is *pause* well this isincredible. It that based on*points to part of the mural*

FILMMAKER(Filmmaker nods)

Yes; it just fits.

(CONTINUED)

CONTINUED: 11.

DANCERFor real. Specially thispart. *points to paper* This thisme?

(Filmmaker nods)

MUSICIANAnd this *points to paper* willsound amazing while this happens*points to paper*

(Filmmaker nods; keeps aserious disposition but isclearly excited)

12 EXT. THEATER- NIGHT 12

The theater is lit up with bright, colorful lights. Patronare dressing in formal attire and standing in longs lines,waiting to enter. A taxi drives into the scene and obscuresthe theater. The door opens, legs from a man in a tailoredsuit steps out, and the taxi drives away. Pedaling upward,we see over the should of the man and dolly with him as hewalk to the theater.

CROWD(muffled voices)

Is that him?...I think so... Heylook who it is.

MAN 1Ahh. Bout time; big night ahead.They are already inside.

(to one of the bouncers)Jimmy, get our man here to rightspot in the main theater.

JIMMYRight this way sir.

Continue to dolly as one shot into the theater

13 INT. THEATER- NIGHT 13

Continue to see over the shoulder of the well dressing man,we dolly with the man inside theater, down corridors, andinto the main screening room. JIMMY show us a empty seatnext to the MUSICIAN, DANCER, and PAINTER, who are also informal dress. The FILMMAKER shakes hands with the Dancer andPainter and hugs the Musician.

(CONTINUED)

CONTINUED: 12.

DANCERIt’s about to start.

14 INT. THEATER, SCREENING ROOM- NIGHT 14

From above the middle of the crowd the film starts. Theentire room is shown from a panning motion of the frame;face of the crowd are sporadically illuminated from thelight on the screen. After a complete circle, the screen isseen again, with “fin” displayed. The well-dressed crowdgives a standing ovation. The FILMMAKER, MUSICIAN, DANCER,and PAINTER are in fine clothes in the middle of the crowdand only the Filmmaker remains seated. The crowd starts toclear out of the theater.

PAINTERThey really enjoyed it.

DANCERHow could they not, did you see meon screen?

MUSICIANThat’s when those girls in thefront row made a bathroom break.

DANCERSomebody’s jealous

PAINTERSpeaking of bathroom, that was along movie and I downed this.

(20 oz. soda cup)

FILMMAKERGo on ahead, I’ll be there in asecond.

PAINTERAlright man, congratulations.

MUSICIANSeriously, impressive.

(hugs the Filmmaker)

DANCERGotta sign some autographs anyway.

The three characters leave and only the Filmmaker remains inthe theater. He takes a deep breath and for the first timegrins. He turns to leave and a bite is seen on his neck.

Costume Designs

Painter

Plain white t-shirt, v-neck, splattered with paint Relaxed, old jeans Dark tennis shoes Belt with holsters for paint supplies

Musician

Bell-bottom jeans Light flowing sweater Hippie headband

Bryan Stephens

Michelle Sweeney

Becky Devault

Lauren Primrose

T206 Project “Complete Shot List”:

Scene Shot Description Elements

1 1) Wide/High

Angle

Artist is

sitting at his

desk

Char 1: Painter

BG: Darkness

Props: Brush, desk

1 2) Low

angle/POV

From the

spider’s

perspective,

we crawl along

the ground

toward the

painter’s desk

and begin to

crawl up the

leg.

Char 1: Painter

BG: Desk

1 3) Low Angle/

Medium close

From the

spider’s

perspective,

we look up at

the plainer

doodling

something.

Char 1: painter;

clearly frustrated

1 4) Low

Angle/Medium

close

Painter throws

brush at the

wall

Char: Painter,

Props: paint brush

1 5) Medium shot Painter starts

to draw

Char 1:Painter

Props: desk

2 1) Wide shot Painter walks

to wall

Char 1: Painter

Props: paint,

painting supplies

BG: Posters, wall,

2 2) Medium

close, Low

angle

Painter tears

down poster

from wall

Char 1: Painter

Prop: Posters

2 3) Wide shot Begins to

paint on the

wall

Char 1: Painter,

Prop: Supplies,

BG: wall, crumpled

posters at feet

2 4) Close up of

face/ low

angle

Determination

of painters

face

Char 1: Painter

2 5) Close up Paint being

brushed on the

wall

Props: Paint, wall,

paint brush

2 6) Wide Angle Painting near

complete,

light radiates

Char 1: Painter,

BG: wall, paint

supplies

3 1) High Angle/

Medium far

Light begins

to reveal the

musician

Char 1: musician

Prop: Stool, guitar,

blank sheet music

3 2) Close up Strange

expression

Char 1: Musician’s

face

3 3) Close up Feet (stand

up)

Char 1: Musician’s

feet (in shoes)

3 4) In motion

wide angle

Musician walks

to mural

Char 1: Musician,

Prop: guitar, BG:

painting

3 5) Medium

angle/ medium

high

Musician

coughs

Char 1: Musician

3 6) Close

medium

Painter

continues to

paint

Char 1: Painter

Char 2: Musician

Prop: paint brush

Painter in

foreground and

musician out of

focus in the back

3 7) Medium

angle/ medium

high

Musician

speaks

Char 1: Musician

3 8) Motion

medium wide

Musician walks

to painter

Char 1: Musician

Char 2: painter

3 9) Close up Musician taps

painter

Char 1: Musician,

Char 2:

Musician’s hand

touching the

painter’s shoulder

3 10) Medium

close/ low

angle

Painter is

startled

Char 1: Painter

3 11) Medium

close

Painter

realizes what

he’s done and

looks at brush

Char 1: Painter,

Props: brush, paints

3 12) Medium-

wide

Painter pedals

backward

Char 1: Painter

3 13) Medium

close

Painter and

musician in

dialogue

Char 1: Painter

Char 2: Musician

4 1) Medium wide Musician

walking

Char 1: Musician

Char 2: Painter

Musician, painter in

background painting

again

4 2) Close up Musician takes

a step

Char 1: Musician

Props: Musician’s

shoe and bug

4 3) Medium

close motion

Through three

steps of

pacing

Char 1: Musician

Bugs rawls up the

musician’s leg

4 4) Medium Recoil Char 1: Musician

She’s been bitten,

evident in face and

motion

4 5) Close up Musician Char 1: Musician

Dazed facial

expression

4 6) Close up Paint brush Props: Paint Brush

Rhythmic strokes

4 7) Close up Strap Char 1: Musician

Guitar in motion as

it swings around her

body

5 1) Close up Hands playing Char 1: Musician

Guitar body/strings

5 2) Close up Left hand Char 1: Musician

Props: Guitar

Hand playing chords

on guitar

5 3) Medium Musician Char 1: Musician

Strumming the guitar

5 4) Wide shot Musician

playing/

painter

painting

Char 1: Musician

Char 2: Painter

BG: murial painting

Propss: painting

palette and other

supplies

5 5Medium/wide

shot

Painter at

mural

Char 1: Musician She

walks into frame

5 6) Medium shot Painter’s face Char 1: Painter

Smile and nod

5 7) Medium shot Musician Char 1: Musician

Smile back

6 1) Medium

close

Floor, light

radiating from

mural

Char 1: Dancer

Dancer’s feet come

into shot as camera

moves across the

floor

6 2) Pan upward

to medium

close

Dancer Char 1: Dancer

Still, interested.

Distracted from

filmmaker

6 3) Medium

close

Camera Char 1: Filmmaker

Filmmaker’s head

rises up from behind

the camera.

6 4) Close up Dancer Char 1: Dancer

Looking at filmmaker

6 5) Close up Filmmaker Char 1: Filmmaker

Looking at dancer

7 1) Medium

motion

Dancer and

filmmaker

Char 1: Dancer

Char 2: Filmmaker

Both Walk toward

mural

7 2) Wide shot All four Char 1: Dancer

Char 2: Filmmaker

Char 3: Painter

Char 4: Musician

BG: Mural

All Congregating

closer to mural

7 3) Medium Dancer and

filmmaker

Char 1: Dancer

Char 1: Filmmaker

Dancer looks

interested, while

the filmmaker looks

disinterested/scoffs

7 4) Harsh low

angle

Dancer swaying

We see the bug

coming down to

his shoulder

from the

ceiling

Char 1: Dancer

VFX: Bug

7 5) Medium Dancer

flinches

Char 1: dancer

VFX: bug

7 6) Close Right leg and

foot start to

dance

Char 1: dancer

7 7) Full body Whole body

dancing

Char 1:dancer

7 8) Wide angle All three

(painting,

playing and

dancing)

Char 1: painter

Char 2: musician

Char 3: Dancer

BG: mural

Props: guitar,

painting supplies

VFX: dancing,

painting, playing

8 1) Close/high Filmmaker

sulks in a

hard wooden

chair

Filmmaker

Prop: chair

8 2) Close Reaching in

cabinet

Prop: cabinet,

scotch, glass

3) Close Hand and ooze Prop: Green Ooze

8 3) Medium/high Filmmaker

thinking and

drinking

Filmmaker

Prop: cabinet,

scotch, glass

BG: Mural

9 1) Close Shot The

filmmaker’s

hand stops

guitar strings

Char 1: musician

Props: guitar

9 2) Close Shot The dancer’s

feet stop

moving

Char 1: dancer

9 3) Close Shot The painter’s

hand stops

stoking the

Mural and

drops the

brush

Char 1: painter

Props: brush, mural

9 4) Medium

close

Filmmaker

staring down

musician

Char 1: filmmaker

Char 2: musician

9 5) High angle

circular

motion.

Panoramic view

of characters’

faces

configured in

a circle

Char 1: painter

Char 2: musician

Char 3: dancer

Char 4: filmmaker

BG: mural

Props: guitar,

painting stuff

VFX: motion

9 6) Low angle

motion shot

Camera behind

the three

Char 1: filmmakers

Char 2: painter

actors looking

up at the

filmmaker, we

see him as we

pan between

their bodies

Char 3: dancer

Char 4: musician

Props: guitar

9 7) Medium

close

Painter’s

response to

filmmaker

Char 1: painter

BG: Mural

9 8) Wide medium

high angle

shot

Musician,

painter,

dancer. Pans

between

characters as

they speak.

Char 1: musician

Char 2: painter

Char 3: dancer

BG: mural

Props: guitar

9 9) Wide high

angle shot

Painter,

dancer,

musician,

Dancer does a

jig

Char 1: dancer

Char 2: painter

Char 3L musician

BG: mural

Props: guitar

9 10) High angle

medium close

shot

Musician,

painter,

dancer. Pans

between

characters as

they speak.

Char 1: painter

Char 2: dancer

Char 3: musician

BG: mural

Props: guitar

9 11) Close shot Dancer’s arm,

shows the bite

Char 1: dancer

9 12) High angle

medium close

shot

Musician,

painter,

dancer. Pans

between

characters as

they speak.

Char 1: painter

Char 2: dancer

Char 3: musician

BG: mural

Props: guitar

9 13) Close shot Painter’s arm,

shows bite

Char 1: painter

9 14) High angle

medium close

shot

Musician,

painter,

dancer. Pans

between

characters as

they speak.

Char 1: painter

Char 2: dancer

Char 3: musician

BG: mural

Props: guitar

9 15) Close shot Musician’s

arm, shows

bite

Char 1: musician

9 16) High angle

medium close

Musician,

painter,

Char 1: painter

Char 2: dancer

shot dancer. Pans

between

characters as

they speak.

Char 3: musician

BG: mural

Props: guitar

10 1) Low angle

medium close

Filmmaker,

getting upset

Char 1: filmmaker

2) Wide angle All four

discussing

sketch pads

Char 1: painter

Char 2: dancer

Char 3: musician

Char 4: filmmaker

BG: painter’s desk

Props: sketch pads,

painting stuff

10 3) Medium

zoomed to

Close shot

Stool Props: papers,

stool, sheet music

10 4) Medium

zoomed to

Close shot

Chair Props: book, sketch

pad, chair

10 5) Medium

zoomed to

Close shot

Desk Props: book, loose

paper, pens, loose

sketches, desk

10 6) Medium shot Empty desk

chair,

filmmaker sits

at desk and

collapses,

clearly tired

Char 1: filmmaker

BG: painter’s corner

Props: desk, chair

10 7) Low angle

medium wide

Musician

painter and

dancer walk to

desk and

discussion

begins

Char 1: musician

Char 2: painter

Char 3: dancer

BG: mural

Props: guitar paint

stuff

10 8)High angle

medium wide

Back of the

heads of

musician

painter

dancer,

looking down

at filmmaker

speaking

Char 1: musician

Char 2: painter

Char 3: dancer

10 9) High angle

medium wide

We see the

front of

painter

filmmaker

dancer

Char 1: musician

Char 2: painter

Char 3: dancer

Char 4: filmmaker

musician as

they continue

to speak

10 10) High angle

medium shot

Filmmaker

stands

Char 1: filmmaker

BG:

Props:

VFX:

11 1) Wide angle Symmetric view

of mural,

filmmaker

walks into

frame and

stops in the

middle of the

frame

Char 1: filmmaker

BG: mural

Props: papers on the

ground

11 2) Close shot Filmmaker’s

face

Char 1: filmmaker

11 3) Wide angle Symmetric view

of mural,

filmmaker

bends to pick

up papers and

begins writing

Char 1: filmmaker

BG: mural

Props: papers on the

ground

11 4) Zoom in

slightly and

to the right

Filmmaker

paces as he

writes, we see

the painter

musician

dancer

Char 1: filmmaker

Char 2: painter

Char 3: musician

Char 4: dancer

11 5) Medium

close

Pan from top

of mural to

the window,

light begins

to radiate

further in to

the room

BG: Mural, light,

window

11 6) Medium Painter,

musician,

dancer,

filmmaker.

Discuss the

story board

Char 1: filmmaker

Char 2: painter

Char 3: musician

Char 4: dancer

Prop: papers

11 7) Medium

close

Filmmaker –

hands papers

Char 1: filmmaker

Prop: papers

11 8) Medium

close

Dancer,

[painter and

musician look

Char 1: dancer

Char 2: painter

Char 3: musician

at papers –

complimenting

papers

Prop: papers

12 1 Dolly/over the

shoulder

Outside Theater,

people,

Lights

13 1 Dolly/over the

shoulder

Inside Theater,

people,

Lights

14 1) 360 degree

high/wide/pan

We see the

silhouetted

heads of a

crowd in a

theater.

Clapping

Char: Audience

BG: Theater

14 2) High/wide

shot

We see the

front of the

audience

clapping in a

standing

ovation

Char: audience

BG: Theater

14 3) Wide to

medium zoom

The four main

characters

dressed in

fancy clothes

clapping and

patting the

filmmaker on

the back

Char 1: filmmaker

Char 2: painter

Char 3: musician

Char 4: dancer

BG: Theater

14 4) Medium

close (panning

from speaker

to speaker)

The four

characters

talk about the

film. The

musician,

dancer and

painter leave

the theater.

Char 1: filmmaker

Char 2: painter

Char 3: musician

Char 4: dancer

BG: Theater

14 5) Wide The filmmaker

is alone at

the front of

the theater

and the other

three file out

the back

Char 1: filmmaker

Char 2: painter

Char 3: musician

Char 4: dancer

BG: Theater

14 6) Medium

close

The filmmaker

smiles

Char 1: filmmaker

BG: Theater

14 7) Close The filmmaker Char 1: filmmaker

is smiling at

the camera

straight on

and then turns

his head

revealing the

bite on his

neck

BG: Theater

14 8) Close pan

out to wide

The filmmaker

exits the

theater

Char 1: filmmaker

BG: Theater

14 9) Wide to

black

The screen

goes black as

the theater

door shuts

BG: Theater

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Concept Art

! This was done in Google sketch-up and photoshop. There are 3 different texture layer creating the rain-on-window look. There are also filters on the layers creating the “sketch” feel to the objects and characters. Overall, this piece creates the sensation of “looking in” on the creative process. The grungy rain juxtaposes the sun in mural, which makes “inside” appealing . The view looking in almost feels cold and distant from the action inside, a relatable human sensation. Moreover, the “sketch” feel to the figures is very artsy. It is ironic that the 4 artists are, in fact, the art in in this piece. In sum, the style, in the context of the images, is supposed to make the viewer curious--hopefully curious enough to step away from the window and into the theater.

!

5 Track Example Soundtrack

1. Demons by Guster is the song we would use at the beginning to represent the struggle the artists are going through. The song has dark lyrics and the electric guitar at the beginning gives the haunting feeling we are going for.

2. Stay Away by David Gray has a great beginning. The quick drum beat is what we would use to show the inspiration as it comes. The song would be perfect to play while the painter is working on the mural.

3. Rock & Roll by Eric Hutchinson is the type of happy guitar song we imagine the musician coming up with when her inspiration hits. The whole feel of the song including the lyrics are perfect.

4. Strange Music by Electric Light Orchestra adds in the Pixar feel to our film. The cheesy beginning would be used when they all notice the similar bites on their bodies. It symbolizes a classic ah hah moment.

5. Stillness Is The Move by Dirty Projectors has the electric energy we are looking for to couple with the last scene when we see the final bite on the filmmaker s neck. This song is a little off the wall and we want the audience to feel shocked when they hear this.

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'

The objective of the project is to show the stifling pressure that comes with being creative; by instilling the possibility that some creativity may be outside one’s control, we introduce a possible safe-house for artist under pressure. To do this well, I think we should contrast the movie with the opening credits. We will have sort of a montage of the painter as a boy. For the first shots in the opening credits, we will shoot a POV/dolly shot of the sky with interesting cloud formations; the boy, as we will see in a moment, is lying on his back in a red wagon and is being pulled by his mother. A boy’s hand will be in the shot drawing like his finger is a marker. In the editing room, we can add in marker type stokes that follow the boy’s finger. With his imagination he will create delightful, childlike paintings with the clouds acting as characters, buildings, and environments. Throughout the credits, we can show multiple drawing with multiple cloud formations; we can also animate the marker figure with after effect or cinema 4D.

Then we will shoot him working as a teenager and young adult in college. The shots will be taken in the open with lots of light (which is a primary theme throughout). The outside, clear blue sky and light juxtapose the very stifled, dark, hollow studio. As a transition in the studio, the camera is focus on something dark and zoom until the screen is black; this cut will change the setting to the dark studio and the desk light can be turned on to start the scene.'