Sketched Storyboard

The Graduate

The Graduate is a prime example of a coming-of-age movie, which some consider to be the defining film of the coming- of-age genre.  The narrative exposes the post-college years of a 21 year old (Dustin Hoffman) who is uncertain about his unforeseeable future. This is the conventional narrative formula for a coming-of-age film; a youth who is pondering their transformation into adulthood.  Using the screenshot templates, I will depict the opening scene shot-by-shot. 

Template for Shot Screens

This is a template that gives an example of how I will format the single shots that I take, from 1 to 25. I have included, or attempted to, replicated size of the 16:9 aspect ratio that would be used for each shot. This size is essential as this is the standardised screen size for a television that would be showing this hypothetical film. This template also includes a box for each stylistic feature that will need to be considered for my film. These are the boxes at the top of the template listed: cinematography, editing, sound and mise-en-scene. In these boxes, it will be vital to use relevant information to give addition and dimension to the still of a shot, giving it a true 'realistic' film style.  

Contextual/Intertextual References

This is the single Drugs by the New Wave American band Talking Heads. This single is significant to my chosen scene as it is Charlie's first experiance of drugs. The song's lyrics depict the events of an experiance with drugs, ultimetly leading to Byrne to sing the lyrics: "charged up, electricity". This is relevant to the chosen sequence as it is Charlie's first experience of drugs and the possible effects that they will have on him. The essential sound of this song has elements of funk/psychedelic rock, also relevant to drugs, yet more specifically acid. Using a song from such an iconic and avant-garde 80s group adds to the retrospective aspect of my thematics for the film, as discussed previously.

I intend to use J.R.R Tolkein as an inspirational figure to Charlie. He is a world famous British novelist, renowned for his Lord of the Rings series. Tolkien is considered the 'father' of fantasy fiction, initially using his creative innovation and literary mind to create novels for his children. I choose to reference Tolkien's creativity in this specific scene, due to Charlie also known for his fantasy creativity, yet is diagnosed with a condition (FPP). This reference suggests Charlie has a knowledge of literature.

There will also be subtle reference to the myth of Icarus, as discussed in previous posts. The wax candle that is blown out in Charlie's frustration is significant as this is the scene when Charlie initially takes drugs and in the Icarus myth the wax that holds together the wings is melted by the sun (the print on the acid tab). Furthermore Charlie will be wearing a necklace with a feather on, signifying his protagonist stance in the narrative.

Shotlist Adapted from Screenplay

Here are the handwritten 25 shots that I intend on using for my digital photographic storyboard as an extract of my film. As this photo may raise slight ambiguities or may be unable to read, here are the shots:

1) Est. (establishing) shot - outside house
2) Mid-shot - CHARLIE slams laptop
3) Shot behind DION at door frame - over the shoulder
4) Reverse shot - CHARLIE - over the shoulder
5) Reverse shot - DION - over the shoulder "inspiration"
6) BACK to - CHARLIE
7) Cut to - Close up - CHARLIE
8) Scrambles through box
9) JUMPCUT - scramble through box
10) CHARLIE discovers TABS - over the shoulder
11) Long shot - CHARLIE runs to DOOR FRAME -> close up "did you...?"
12) TABS - close up
13) JUMPCUT to TOUNGE - close up/extreme close up
14) CHARLIE at desk - medium close up
15) Picks up notepad + pen - close up
16) CHARLIE slams the house door as he exits - longshot
17) SIDE ON Tracking shot down the street - CHARLIE
18) JUMPCUT - FRONT ON tracking down the street
19) Est. (establishing) shot decrepid building - CHARLIE appears walking towards it
20) CHARLIE - walks through a doorway - longshot
21) CHARLIE - begins to sit down - medium close up/midshot OR Longshot
22) CHARLIE - sat down -> CANTED ANGLE to flopping down and laying down - medium close up
CUT TO BLACK
23) Same FRAMING to previous shot - CHARLIE laying down in bed to open his eyes - medium close up
24) CHARLIE - flicks through notepad - over the shoulder
25) CHARLIE - smiles then laughs - LOW ANGLE - midshot
FADE TO BLACK

At the bottom of my hand written page is the picture of a small sun on a square. This was a spontanious drawing that I drew whilst writing up the shot sequence. The sun relates to ICARUS tale, which eventually results in his downfall, thus was to adapt this idea into my own narrative. After finishing my sequence, the sun drawing acted as a rememberence to search of the image of an acid tab with the picture of the sun on. After using Google Images, I found this one, with the link to the address I found it on (www.smashedblocked.blogspot.com)

My Screenplay for Sequence

- INT. – DAEDALUS FAMILY HOME – Day

We are in the protagonist’s (CHARLIE’S) bedroom.

The walls are BLUE. The CURTAINS are closed despite being daytime and are blocking the light. The only real light comes from a CANDLE sat next to CHARLIE.

CHARLIE is sat at his desk on his laptop, yet not typing or interacting with the laptop what so ever: plainly staring at the blank screen. The sound of TALKING HEADS – DRUGS is heard lightly coming from his speakers.

HE wears casual clothing, yet with a prominently, vivid coloured feathers on a necklace.

CHARLIE

Fuck!

He SLAMS the laptop screen in frustration, causing the CANDLE to extinguish and the sound of TALKING HEADS to end.

DION appears in the door way, standing learning in with one shoulder resting on the door frame. DION is also wearing leisurely clothing, with a look of inkling worn on his face.

DION

What’s up Charl? Why’s it so dark in here too? I hear Talking Heads?

CHARLIE

This short fiction competition, I’ve got no chance at this rate: my mind is blank, despite being like Tolkien with a mind wondering aimlessly. I like the dark. It usually helps me think but obviously not today.

DION

Well, it sounds like you need inspiration. Check that box there; I may have left you a little surprise cos I suspected you needed a little push.

DION winks at CHARLIE, then leaving the door frame to go elsewhere.

CHARLIE scrambles through a wicker box he keeps under his desk and finds a STRIP of what looks like POSTAL STAMPS. CHARLIE frowns upon discovering these, then opens his eyes wide and runs to the door frame, yet not breaching the confinements of his bed room.

CHARLIE

Dee you left me acid?!

There is no response from the landing. CHARLIE looks in wonder at these small tabs. CHARLIE returns to his desk and rips a piece off this strip and puts it on his tongue.

After a few seconds, CHARLIE grabs his NOTEPAD and PEN and runs downstairs out the door.

- EXT. – STREETS – Day

The sound of TALKING HEADS is again heard as NON DIEGETIC SOUND. The camera TRACKS Charlie who is walking down the street at a rapid pace, with his NOTEPAD and PEN held in his hand.

EXT. – DERELICT STRUCTURE – Day

CHARLIE arrives at an old building of some sort with no walls and the inside exposed. He looks for a place to sit as the colours become SATURATED and VIVID; the drug is kicking in.

CHARLIE sits in the corner of a room in this construction and looks at his pad for a few seconds before he slumps to a side.

The TALKING HEADS track once again abruptly stops.

CUT TO BLACK

- INTL. - DAEDALUS FAMILY HOME – night

We are once again in CHARLIE’s room as he is lying in bed and slowly raises himself up. Next to him lays the same NOTEPAD and PEN. HE frantically moves, sitting on the edge of the bed and flicks through his NOTEPAD; He has written numerous pages.

CHARLIE SMILES which gradually turns into a LAUGH of satisfaction.

FADE TO BLACK

Screenplay Examples

Screenplay for Jackie Brown (Quentin Tarantino,1997) Opening Credits:

OPENING CREDITS

INT. LOS ANGELES INTERNATIONAL AIRPORT - DAY

We hear the rhythm of funky seventies SOUL MUSIC.

Then SHE steps into FRAME.

She is JACKIE BROWN, a stewardess dressed in her CABO AIR uniform.  (A
little shuttle airline that flies from Los Angeles to Cabo San Lucas.
Approximate flight time: forty five minutes)

Jackie stands still as a people-mover slowly inches her through the
airport.  The CREDITS APPEAR and DISAPPEAR in front of her.

Jackie Brown is a very attractive black woman in her mid forties, though
she looks like sheís in her midthirties.

The people-mover reaches the end of the line, she steps off.

She breezes through Customs and we follow her with a STEDICAM as she
strides through the airport.. She gets to her gate disappears inside the
plane for a moment comes back out sans flight bag picks up the
microphone.

JACKIE
(into mike)
Flight 710 Cabo San Lucas, now boarding Gate 12, first class
only.

With a smile on her face, she collects passengers' boarding passes as
they board the plane.

FADE TO BLACK



Screenplay for American Psycho (Mary Harron, 2000) 'Bar Scene':

INT. NIGHTCLUB - NIGHT

Bateman saunters toward the bar as "Pump Up the Volume"
plays in the background.

BATEMAN (to BARGIRL) Two Stoli on the rocks.

He hands her two drink tickets.

BARGIRL
It's after eleven. Those aren't good anymore. It's
a cash bar. That'll be twenty-five dollars.

Bateman pulls out an expensive-looking wallet and hands her
a $50.

She turns her back and searches the cash register for
change.

BATEMAN You are a fucking ugly bitch I want to stab to
death and then play around with your blood.

The music muffles his voice. She turns around. He is
smiling at her. She gives him his change impassively.

Chosen Sequence

The part of my film that I have chosen for my photographic storyboard sequence will be the narrative disruption. In terms of my narrative syntax, this sequence will be the first instance that Charlie has with this drug his brother has told him to take. 

The sequence begins with Charlie sat at his desk in a frustrated state as he is unable to consider ideas for his creative writing project that could inevitably ignite his career that he desires of becoming a writer. In his frustration he bangs down on the desk he is sitting at, creating a loud noise throughout the house. As a reaction to this, Dion comes in to the room to investigate what the disruption was all about. Charlie explains his predicament to Dion, giving Dion an excuse to indulge in a speech explaining how to escape this 'writers block' problem with the drug which he left under the papers on Charlie's desk, anticipating that something like this would arise. Dion then departs Charlie's room leaving Charlie to consider whether this is the right or wrong thing to do. Eventually, trusting his brother, he does it. Charlie initially believes that it has had no effect so leaves the house to go for a walk with his notepad to maybe come up with something while outside. Whilst walking down the street, Charlie abruptly stops walking and realises that his vision has become enhanced, with colours seeming more saturated and defined. Moments later, his vision becomes blurred and shapes and structures become obscured, where Charlie stumbles and decides to sit down. The juxtaposing shot will be a cut to black followed by a shot of Charlie next laying in his bed, looking almost confused. As he sits up and sees that his type writer shows no evidence of advancement in his writing, he again gets slightly annoyed. Next to his bed lay his notebook that he went out with the previous night when experiencing his trip. He decides to look inside it in curiosity and discovers that he has actually hand written multiple pages of prose. Charlie springs up and runs to his brothers bedroom. 

Setting:

Upon consideration, I decided to set my film in the present time. My reason for this is to manipulate the retrospective culture that is currently happening now - bands now are using the 80s or previous decades music as prominent influences and clothing of the present day sees vintage as fashionable. Using these elements, I can however utilise modern day technology - such as with Charlie using a computer rather than the conventional typewriter. 

Presentation: Coming-Of-Age Dramas

Synopsis - 200 Word Treatment

A coming-of-age drama about a boy in his late teens (Charlie) who suffers from Fantasy Prone Personality yet aspires to become a writer. He lives with his family in Oxford. His brother, Dion, has taken the duty of having his brother be friends with his own friends due to his condition making it hard to make friends. His brother is a few years older attending a local art college and has friends who live locally in a student house with many of them sharing. Dion offers Charlie drugs that will ‘augment creativity’ as he is having problems writing. When taking the drug this proves to be correct, yet his condition enhances the surrealism of the drug thus often making it difficult to differentiate with reality and his trips. Charlie becomes more indulged in the drug as it does in fact make his writing better. One trip Charlie sees Dion in harm, leading him to depression, yet this is just a faction of surrealism/FPP condition creating this alternate reality. Concluding the narrative, Charlie realises that the drug is dangerous and writes about his events of the drug, making a successfully selling story - 191 words.

Character Development

Daedalus Family (Name comes from the Icarus myth) :

Charles/Charlie - Charlie is the protagonist in the narrative. He is in his late teens and recently finished college.  He suffers from Fantasy Prone Personality (FPP) which is a personality/psychological condition that causes the individual to suffer from extensive involvement in fantasy and surrealism. I have named the protagonist Charles after Charles Dickens, the famous British novelist, because it was believed that he suffered from the same condition. Additionally, Charlie also aspires to be a writer and has an extensive imagination due to his condition.

Dion  - Dion is Charlie’s older brother of his early twenties. Dion is a Fine Arts student at one of the colleges in Oxford. He takes drugs as a creative influence on his art, yet this is unknown to his father. However, within the narrative Charlie finds out about his drug usage due to Dion telling him to take them. Dion is an abbreviation of Dionysus of Greek Literature who is the son of Zeus, known as the 'merrymaker' as well as the God of wine and fertility.

Rob - Rob is the father of Dion and Charlie. Rob works at the local council as part of the treasury team. This is his second job in the year as he recently became redundant as an accountant at the bank. Rob doesn't have a significantly strong relationship with his two children due to his high amounts of hours working. 

Jude - Jude is the mother of the two boys and wife of Rob. She works as a part-time nurse at the local hospital. She has a close relationship with the boys as she spends more time at home, yet it is evident she shows Charlie more affection due to his condition. 

The family live in a fairly large three story house in Oxford due to their stable financial status. The houses in the area are all terraced with some students at the local collages and university living in the same area. Dion has a close relationship with a group of students that live in the area, who all have a great involvement in music and the Oxford music scene. 

Story Type

In terms of McKee's genre/sub-genre categories, my film would fit into the 'Maturation Plot' which is the narrative type for the typical coming-of-age story. The story type for my film will be the 'Rite of Passage' as the theme of the narrative will be the transformation of a child into an adult life, again typically that of a coming of age narrative movie. 

Levi Strauss' invented the concept of binary oppositions in a narrative. Using a youthful character in my narrative, coupled with another character, either a brother or close friend, then I can make these oppositions prominent through the characters. Here are some of the opposing concepts that i wish to include within my narrative:

- Known - Unknown The idea of uncovering the unknown and first time experiences are typical embedded narrative points of coming-of-age films. 

- Reality - Surreal The contrast of reality and surrealism comes from the drug use in the film as well as the protagonist's condition. 

- Past - Present Constantly reinforcing the idea of maturity in the narrative will allow flash backs   or forwards and cataphoric and anaphoric references in the narrative.

- Legality- Illegitimate/Illegal Throughout the film elements of illegal activity and legal activity will occur. This is another convention of the coming-of-age genre, where the protagonist must decided on a moral and ethical scale what is correct. 

Structure - Todorov:
Todorov gives the  theory of the conventional linear narrative structure of a movie. I will give these stages of the theory in context of my film:

Stage 1 - State of equilibrium is defined.
We see the family's lifestyle: Charlie is at home reading/listening to music then writing, Dion as an art college student, Rob and Jude (father and mother) go to work on a daily basis. There is also evidence of the friendship with the other students that live in the area and are friends with Dion which Charlie is also friends with. 

Stage 2 - A disruption occurs to the equilibrium in the form of an action or crisis. 

Stage 3 - The progagoinst and other major characters have recognized a disruption has occurred and set goals to resolve the problem and restore an equilibrium.

Stage 4 - The characters attempt to repair the disruption which resulted in the disruption of the narrative to occur.

Stage 5 - A new equilibrium has been installed to the narrative and the conclusion is announced. 

Genre Adaptation for My Screenplay

- Genre/sub-genre: Drama/Coming-of-age following the plot line of Icarus with the two brothers, where Icarus attempted to fly using feathers and wax, caught up in his excitement eventually drowned in the sea after the wax melted. This Greek myth has the idea of ESCAPISM and FASCINATION. Their fathers name was Daedalus meaning ‘hard worker’ who constructed the wings.

- Conventions of coming-of-age:  Personal growth and change is an important characteristic of this genre, which relies on dialogue and emotional responses, rather than action. The main character is typically male, around mid-teen and the story is often told in the form of a flash-back. Themes of developing sexual identity, personal philosophy, and political opinions are often featured. Sexual themes are often presented in a comic or humorous manner. The character or social groups of characters are often deemed as the lesser respected and peculiar personalities that are expressed and explored throughout the film. 

- Examples of coming-of-age films: Here are the trailers of 3 films that fit into the Coming-of-Age sub-genre of film. The similarities between these three films are that they all have a mentor or influence upon the protagonists actions. Between these three films there are the mutual theme of musical interest, which is popular with the audience. Additionally, all three of these films are retrospective of a certain generation that is significant to music: On The Road looks at the Beat generation and Jazz age, Perks looks at the up rise of the indie music genre with bands such as The Smiths being a prominent part of the narrative and Almost Famous revolves around the idea of a young music journalist who tours with a rock band in the Hippie era of the 1970s. To accompany the theme of music there is a shared interest of drug use in these three films. These films share the  protagonists interest in  literature or writing, for example On The Road is a biography of Jack Kerouac's journey across America which can be seen in the film when he is writing the printed versions of the events; Perks has Charlie aspiring to be a writer who shows a knowledge of famous novels and literary works; William in Almost Famous has just become a music journalist and the narrative of the film is based around this career. 

The protagonist and social groups that are seen in all three of these films are considered as 'social outsiders'. This is often played upon in the narrative, giving opportunity for sub-plots to elaborate. 

ON THE ROAD/2012/WALTER SALLES 

THE PERKS OF BEING A WALLFLOWER/2012/STEPHEN CHBOSKY



ALMOST FAMOUS/2000/CAMERON CROWE 

Brief

Create a film sequence that demonstrates how the micro features of film construct meaning.
This is to be completed in three parts:

1) Aims and context - A clarification of the aims and context of the sequence

2) Film Sequence (40 Marks) 
The film sequence will be an extract from a longer film that the students will develop. The emphasis will be on visual communication rather than dialogue. 

3) Reflective Analysis (750 words & 10 marks)
The reflective analysis should select key micro features of the sequence and discuss how they make meaning and aim to provoke responses in audience. 

This is to be done as a continuous piece of writing and can be supported by illustrative material.