Thursday, July 28, 2011

A message from Chris Arthur-Henly Robinson: "Hi Sylvia here is the last scene."

Gmail keskarel navapeac <keskarel@gmail.com>

hamlet in russian - please listen to this pronunciation and practice saying it by thursday night
2 messages
keskarel navapeac <keskarel@gmail.com> Tue, Jul 26, 2011 at 10:32 AM
To: diana slampyak,  Nima Nejad, Christopher Robinson
http://translate.google.com/translate_t?oe=utf-8&rls=org.mozilla:en-US:official&client=firefox-a&q=hamlet&um=1&ie=UTF-8&sl=en&tl=ru&sa=X&ei=PPkuTtDLOLDViALP_s0r&ved=0CBcQ_AgwAA#en|ru|hamlet

--


Thanks.
The Keskarel the Movie production team




Christopher Robinson  Wed, Jul 27, 2011 at 5:36 PM
To: keskarel navapeac <keskarel@gmail.com>
Hi Sylvia here is the last scene. After I finish my summer session in a
couple weeks I would like to complete the script the week in a half I
have off before my fall semester begins, at least most of it. It
should be pretty easy since we have all the material right here. We
can figure out the fill in shots we will need tomorrow. I think we
want this one, the beach scene and the one where we show K moving in.
Also a little blurb about this scene; I wanted to start the scene
before K and V go to K’s old home. I thought it would be a more linear
storyline if there was a beginning to this scene even though it starts
in mid shot.
The Very Last Scene.
(K and V are walking down the street together, we film the two with
the hand held, medium long shot from the front. Also the two have been
drinking the “wodka.”

a. The two are silent while they walk and look around at other things
going on around them, until K says “What happened next? You forgot to
tell me the last part of the story.”
b. V heaves a great big heavy sigh before saying, “We started seeing
each other."
c. “Couldn’t you already see each other?”
d. V shakes her head, “It is another way of saying dating.”
e. K looks confused, “But I thought you did not like him, you said he
was ugly, why would you see an ugly man?”
f. “I was lonely and he told me he would lose weight if I went out
with him. (V giggles) I made it clear that I have not nor will I ever
date a fat person—what a loser he did what ever I told him…”
e. K interrupts, “I think this man is very romantic, he wanted to
change so you would like him. It is very hard to lose weight.”
f. V responds, “It wasn’t romantic and he never lost the weight it was
embarrassing to be seen with him.”
i. K grins, “Maybe if you were nicer you could see a man that was not fat.”
V doesn’t say anything, the two walk on and with out saying anything K
walks into a convenient store (any store is fine) and buys something,
(we keep the camera focused on them from behind then we switch to a
long shot from the front while the two stroll on the street again. V
films K as she attempts to stuff her change into a money belt, money
is going every which way falling on the street. K scrambles to pick it
up.
a. While K scampers around on her hands and knees, while V films her
and asks, “How do you have all that money? I've never seen you work?”
b. K collects all her cash and rises up and the two go on, V continues
filming the events of her life going on around her. K suddenly stops
and decides to take a seat. V stops camera still in hand, looks back
at K then walks back over to her and takes a seat then asks, “Why are
you sitting?”
c. K speaks softer than she had been before and replies, “I am sad?”
(Close up of the two with the hand held, mid body shot)
d. “I’ve never seen you when there was not some twinge of sadness in you.”
e. K doesn’t pay attention, “Before I got married my grandmother
handed me a large pile of money and said to me (K clears her throat
when she speaks again she smiles and imitates her babushka) “You are
marrying an Arab man, I have known some Arab men and I have never
trusted any of them. (K clears he throat again, smiles and continues
in a more familiar voice, “She told me to hide the money and never let
him see where I hid it; so I did what she said. (K stops then collects
herself) This was stupid of me he would have never stole the money
from me he was, is a good man.
e. V looks around with her camera while she say’s, “Why are you always
so sad? You’re a mess.”
K gets up from the curb, mutters something to herself and begins to
walk (We fade out into a long wide shot) V staggers up behind her and
yells,
a. “Where are you going?”
b. K raises her hand up to hale a taxi, they find one and before they
get in, V turns to K and asks, “Where are you going?” K doesn’t
answer, the cab zooms on, V say’s, “I’ve never known anyone who gets
in a cab without knowing where she is going.” (We film the two from
the front seat with the hand held, medium mid body shot)
c. K responds with, “I am tired of being sad so I will speak to my
husband now.”
d. V laughs “Alright.”
c. (K looks at V likes she wants to say something else, but she does
not and instead stares out her window, while V films out hers. The two
are quiet until they reach the house. When they get out, we do a long
shot with the camera as they open the doors and watch the cab ride
away. They walk towards us, but we still stay in a long shot.
From here we use the material of the two we shot on Nima’s birthday.
We will begin again from the point where they are all running after K.
K runs, they follow; K runs, they still follow then K looses them in
an alley. Once lost she dashes into the subway. We follow K with the
hand held from behind, in a long shot as she walks down the stairs
into the darkness. She pays, descends down more steps and lurks down
to the darkest corner of the train station. She takes a seat and rocks
back and forth, wondering why she went to see her husband then ran
away from him when she saw him and left her friend. We film the whole
of the station and then we see K and Nima walking down the stairs to
look for our protagonist. V trails behind Nima as they look around the
place, (We follow them from the front, a long shot into a medium shot
as the two try to find K. At some point, still unable to discover K's
where about, Nima looks back at V and says,
a. “What are you doing? Who are you and why are you here?"
b. V says, “I’m looking for K (she pauses) then says, “She's my friend.”
c. Nima laughs, “I'm her husband—why don't you leave us alone, this is
a matter between a husband and his wife.” (I am going to leave this
next line up to your discretion. I figure V would be able to respond
to a line like this better than I could.)
(After a verbal scalding, the two silently continue their search. They
eventaully find K hiding in the corner and walk over to her, (We still
our following them with the camera, long shot. I would like it if we
had two cameras going, when they find K, approach her and stand by her
we fade into a medium mid body shot while they talk, we can rotate the
camera to each character while he or she speaks) I do not want to
write this I think it would be better resolved with improve. The
ques—Nima starts out the conversation with, why did you run away from
me. I also want Nima to ask K why V is there many, many times. I want
K to express her regret with an enormous amount of sympathy and leave
with V I want the last shot being the two walking off into the
hypothetical sunset together why Nima watches)
[Quoted text hidden]

No comments:

Post a Comment