Lighting, Camera and Directing Workshops

The various workshops I have attended have been very insightful as to how to properly use the equipment.

Lighting:
The lighting workshops demonstrated how to create effective lighting for our own projects. The positioning of the various lights is key. Too much lighting will cause overexposure on certain parts of an actors face, while too much light on one side can create very dark shadows on the other sides of their faces. Also, too much lighting behind the actors can completely put shadow over the actor's face. I realised that it can take up to ten minutes just to sort out the right amount of lighting.

However, I realise that, because of my short amount of shooting time, I will try to use more naturalistic lighting, positioning actors near windows to provide lighting. I must try not to overexpose the lighting, however.

Camera:
Our camera workshops demonstrated several uses of the different types of filming equipment. One of the many options given to us was to use the DSLR cameras (looking like a more traditional camera) rather than our usual Sony EX cameras. It was interesting seeing the different type of camera quality we could get through the uses of different cameras. However, the DSLR camera appeared more complicated to use than the Sony EX, especially in regards to recording sounds. For these reasons. I wish to just stick with using the Sony EX as I am more comfortable with this and it seems easier for me to use.

Other aspects included the use of a rail for the camera to travel on to get effective travelling/ tracking shots. I tried using these piece of equipment to some success and I personally liked using these. However, I wish to go for a more handheld style and will try to emulate certain shots through and held techniques.

Directing:
The directing workshops mostly including the utilisation of using the Master shot for entire scenes. The master shot is a continuous shot that lasts the entire scene with the actors reading through all of the lines and the director staging the actors. I found that I need to not use too much movement with the camera during the master shot. Each movement of the shot needs to be made through character movement. I shall try to utilise this advice in my own project.

Sound Design

Sound Design:

What is Sound Design?
-Sound design in film and television essentially describes the process of capturing, layering and mixing of individual sound elements to create one single soundtrack for the project.
-Just as you shoot and edit the image part of the project, you also shoot and edit the sound part too.
-Sound design occurs at all stages of a production, but it is essentially a post-production stage.
-Originally completed by a sound editor.
-1970s: demand for increasingly complex soundtracks create the need to have creative input for the film.

Sound Layers:
-The job of the sound designer is to assemble a number of layers or tracks of sound which are then picked together to create a whole.

7 different types of tracks:
-Dialogue
All the recorded dialogue from the actual shoot.

-Sync
This is the recorded sound that is not dialogue (walking across a room/ getting into a car)

-ADR
Automatic Dialogue Replacement. This is all the dialogue re-recorded or dubbed, after the shoot.

-FX
Certain sound effects for elements such as a car engine, a computer, or an explosion.

-Foley
Making your own sounds.

-Atmos
Sound elements that make up atmosphere for a particular location.

-Music
All of the music in the film. Diegetic, music on the radio or someone playing an instrument in a scene. Non-diegetic, the soundtrack/ score.

The Sound Edit:
-Sound is cut just like the picture and ca be done in Final Cut Pro.
-Larger productions require a larger team to handle individual racks.
The Sound Designer ensure that all of the editors have the same vision.

The Mix:
-Created once the sound is compiled and edited.
-The sound designer and a mixer mix all the separate tracks together to create a single sound track.

The Art Of Sound Design:
-To add depth and emotion to the picture. Audience would believe the sounds.
-Even if a story is set on an alien world, it should sound right.

Keeping it real:
-Making the image come to life.

Atmosphere:
-Adding depth/ emotion to a scene does not necessarily mean adding a piece of music.

Production might spend 7 weeks shooting a film/ programme, but double the time is often spent on sound design.
If you have a thin soundtrack, all the work of the actors, director, editors and cinematographer would be undone.

Living Daylights Scenes Storyboard

Here is the storyboard for how I shall shoot the scenes I am recreating. Apologies for the picture quality:

John Glen Research

JOHN GLEN

John Glen was born 15th May 1932 and is a British film director, editor and author. 

He has worked on a range of Television programs, Film and even Television commercials spanning the years of 1945 to 2001. He first started working in the film industry as a messenger boy during the mid-1940s. He then started to work on editing in sound at Shepperton Studios. his is where he contributed to such films as 'The Third Man' by Alexander Korda in 1949.

However, Glen didn't have his own directorial debut until 1968 where he directed on episode of ' Man in a Suitcase' titled 'Somebody Loses, Somebody...Wins?' 

Also in the 1960s, Glen became both sound unit director and film editor for films such as 'On Her Majesty's Secret Service' in 1969. Glen would return to the James Bond series again in 1977 in the same role for 'The Spy Who Loved Me' and in 1979 with 'Moonraker'. Other examples of films that he contributed to in this form at the time were 'Superman' and 'The Wild Geese' in 1978.

After the 1970s, John Glen took over as the role of director for the James Bond series throughout the 1980s. After 'Moonraker' was met with mixed reception for being extremely over-the-top, Glen was brought in to ground the next few films in reality, allowing audiences to believe that the titular character possessed some vulnerability. Thus his first Bond film, 'For Your Eyes Only' released in 1981 starring Roger Moore, followed this idea and was met with mostly positive responses. After two more films with Roger Moore in the role of Bond, 'Octopussy' (1983) and 'A View To A Kill' (1985) which strayed into more spoof-like themes were not as well received, Glen decided to take the vulnerable route again with a new actor in the role.

Glen directed 'The Living Daylights' (1987) which starred Timothy Dalton as Bond. This film explore the vulnerability and realistic themes further and Glen was able to blend the serious themes while adding in small parts of humour perfectly. The film was generally well received. Glen next and final directed Bond film was 'Licence To Kill' (1989). Glen created a harsher, more adult-themed Bond film which brought in fresh ideas for both the protagonist, villain and the overall plot, allowing the film to feel completely different to the rest of the series. However, due to competition from other various high-profile films in he year of 1989, 'Licence to Kill' did not get the recognition it needed and was deemed a commercial failure. Despite this, Glen has stated that 'Licence To Kill' was the best film that he has directed.

After finishing with the Bond series, John Glen's directorial efforts were mostly commercial failure, including 'Checkered Flag' (1990), 'Aces: Iron Eagles III' and 'Christopher Columbus: The Discovery' (1992) and 'The Point Men' (2001). This would suggest that without a good production company or studio allowing Glen the funds to create direct his films to a good standard, Glen was unable to produce the necessary quality in filmmaking to achieve any commercial success.

Filmography:

- Baby Love (1968)

-The Italian Job (1969)

-On Her Majesty's Secret Service (1969)

-Murphy's War (1971)

-Catlow (1971)

-Pulp (1972)

-Sitting Target (1972)

-A Doll's House (1973)

-Gold (1974)

-dead Cert (1974)

-Conduct Unbecoming (1975)

-Shout at the Devil (1976)

-The Spy Who Loved Me (1977)

-Seven Nights in Japan (1977)

-The Wild Geese (1978)

-Superman (1978)

-Moonraker (1979)

-The Sea Wolves (1980)

-For Your Eyes Only (1981)

-Octopussy (1983)

-A View To A Kill (1985)

-The Living Daylights (1987)

-Licence to Kill (1989)

-Checkered Flag (1990)

-Aces: Iron Eagle III (1992)

-Christopher Columbus: The Discovery (1992)

-The Point Men (2001)

Testing of Ideas

I have tested some of my initial and developed ideas.

One of my ideas included using a continuous shot to create tension. The first would take place as an over-the-shoulder shot behind a character walking onto a bus and down the bus aisle. I went onto one of the buses available in the supplied bus depot and used a friend to temporarily portray the character. During the testing, I noticed that the positioning of the actor would be crucial as, during the first run, the actor switched sides, meaning that the shot alternated between the two shoulders. To fix this, I will make sure that the actor walks towards the left side of the camera so that the camera is always over their right shoulder. I also need to make sure that he walks at a reduced speed so that the camera operator can keep up with them.

The second major idea I had was the shot where the female lead would walk into her room and the camera would to a 360 pan around the room and back to her. A problem I faced when testing this was the fact that the room I am planning to use has a small floor space than I anticipated. To solve this, I will try to stand on the spot and move the camera to properly show certain aspects of the room rather than keeping the camera at the same height level.

There was a sound issue I faced with this, however, as the sound operator would need to remain behind me so as to not be in shot when the camera pans, meaning that there may be some background noise. To tackle this, I would disconnect the microphone for this shot and use a buzz track to fill in the sound afterwards.

Initial Ideas/ Development of Ideas:

I had some initial ideas for how I should film certain parts of my scenes.
The three scenes take place as follows: on a moving vehicle, inside a secluded and tight space and later in a larger area such as in a bedroom.

In terms of cinematography, my main idea is to use longer takes. These would include continuous
shots of a person walking along the path or walking into a building and following them into the building. This idea has developed, firstly with a shot of one of the characters walking onto a bus, showing their ID to the driver and then proceeding to make their way down the isle of the bus to the person they are going to meet.

This idea of continuous takes has developed for another planned shot which actually took inspiration from a film that I had researched when researching how other directors choose to direct their own film and their directorial style. This shot involves a person walking into a room, the camera doing a full 360 shot before focusing in the character again. However, this has developed even further; I would have my character walk in (the female lead in my project), see her room has been ransacked
and then the male lead will have silently appeared behind her when the shot focuses on her again.

I like this idea and i believe it will show that I have taken elements from other directorial styles through research and will fit the tense tone I wish t produce in my own film.


With sound design, my initial ideas were to use mostly natural diegetic sounds that come to the screen. However, I have thought to develop certain scenes with the use of carefully placed sound-effects. For example, when creating my buzz track for when the bus is in motion, I will try to record footage of the bus actually sewing down to properly fit the action that is taking place on screen. I will also use sound effects to emphasise certain sounds if they are not prominent enough such as the bus braking.

Film Prep:

In preparation for my short film based on scenes from John Glen's 'The Living Daylights', I have found actors and planned several locations for filming.

The scene involves James Bond following a woman named Kara who is suspected of helping her boyfriend defect from Russia. He follows her onto the tram and she is eventually taken away by the police for questioning. However, she leaves her cello case behind which Bond takes and discovers that there is a sniper rifle inside. He finds her address in the case and meets Kara at her home, confronting her about her boyfriend and offering to take her away from that area and escape the police. The end involves both Bond and Kara making their getaway.

Instead of a tram as seen in the original film, I have decided to use a bus in my own scene as there is no form of transportation by Tram in the nearby area to where I live.
Because of this, I will also be filming certain scenes in a bus depot. This setting will allow the busy public aesthetic that is displayed in the film scenes. I also have permission from the owner of both the bus and the bus depot and I have a qualified bus driver on board for the shoot.

Also, I will not be using a cello but will instead use a guitar case as that is a prop that I currently own. The gun prop is actually just going to be a toy gun which will only be visible in certain shots and at certain angles. That way it will not be obvious that the gun is not real.

Certain lines shall be tweaked slightly to allow the story of the scenes be more cohesive for a shorter narrative.

Here are several screenshots of the places where I am planning to shoot my film:

Starting location: On Bus- Bus Route


Bus Route:


Here is where the 'villain's' car will be parked, causing the bus to stop so he can drag the female lead from the boss.












Here is the bus yard. Here Bond will exit the bus and enter the small toilets building to examine a weapon.


In my Risk Assessment I have highlighted several dangers that could effect or possibly injure my crew or actors such as the use of the bus and possible collisions and also uneven ground which could cause loss of footing or control of the camera or other equipment.
Safety Measures that will be taken is the use of high-visibility jackets for all of the members of the crew, a licenced bus driver, suitable footwear for the uneven ground and having the crew by the equipment at all times to avoid possible damage.

Editing: 13/Jan/2017

'Duel'- Steven Spielberg's first feature film.



-Use of the sound of machines.
-Lack of music until towards the end.

Editing:
-Editing
-Continuity editing (The Hollywood style)
-Montage theory
-Continuity- Story
-Continuity- Drama
-POV

Film editing: 'Invisible Art'; because when done well it is so immersive the viewer doesn't notice the edits.
-Creating drama, emotion, rhythm and action through the combination of shots.
-'The Great Train Robbery'.
-Up to the early 2000s, all films were edited using a machine called a Steenbeck,  splicing film together with sellotape.

Linear Video editing- Cannot move shots around.

Video and the MTV cut- having a bank of machines with your source materials, allowing faster access to shots and allowed mixes and dissolves.

Continuity editing:
-The Hollywood Style.
-Take discontinuous shots to create a continuous whole.
-Not necessarily a continuous story or scene, as editing can be used to create a scene that disorients a viewer

Alternatives to Continuity
-French New wave
-Little continuity

Continuity Editing- Story:
-Cutting out material you have shot is the hardest thing to do- especially when you have spent a long time shooting it.

Less = more applies all the way through the editing process.

Drama:
-Pacing, rhythm and emotion.
-pace is effected by the speed of cutting.
-Does not mean 'fast cutting'.
-Getting pacing right is key to creating a great film.
-Too quick- Audience left behind.
-Too slow- Audience might losses interest.

Pacing, Rhythm, Emotion:
-Two people talking.
-Showing either the speaker or listening will create different effects/ responses.

Pacing:
-Start wide and slow, get closer and tighter (usually).
-Always cut for a reason, never just cut. It must ADD to the scene.

Emotion:
-Hold shots longer
-Tension can also require held shots.

Atonement:
-Creating emotion through use of editing.



Match-on-Action:
-Useful tool in editing; match one action with a similar action in a separate shot.

Cross-cutting:
-Can create great suspenseful action scenes.
-Cut between two or more scenes that are occurring at the same time in the story.

Montage:
-Collection shots often set to music, presents a similar series events over a length of time.

Fade/Dissolve
-Fade or dissolve into the next scene, shows time passing.

Editing Stages:
-Log: log and arrange rushes
-Assembly Cut: all scenes put into right order.
-Rough Cut: Cut and remove.
-Fine Cut: Cutting further into scenes.
-Final Cut: Its all done, though you keep tweaking.

TV Theory- Metaphor and Meaning

-What is a metaphor?
-How metaphor can be used in television and film.
-Why metaphor is useful for filmmakers.

-Traditionally in literature, a figure of speech in which a word or phrase makes an implicit, implied or hidden comparison between two things that appear unrelated but share some common characteristics.

Allegory- an extended or complex metaphor, or connected series of metaphors.
-An allegory usually has two meanings: literal and symbolic (or metaphorical).

Allusion-an indirect or passing reference, usually with no metaphorical intent.
-Often used as homage or nod to a related show or film, or writer/ directors' inspirations.

Analogy- a literal comparison without further meaning ( a metaphor uses analogy with greater meaning )

Metaphor in TV and film:
-While writers may use verbal or literary metaphors, most metaphors in film and TV will be visual.
-Metaphors generally need to be constructed of familiar visual symbols and references, and cannot be overly complex.

Jessica Jones
(Netflix 13-part drama series)

Metaphor in Jessica Jones
- Dominant narrative theme is power and control.
- Dominant narrative metaphors illuminate theme of power and control.

Surveillance as metaphor:
Stalking and surveillance (voyeurism) are also used as metaphors for abuse and control.

Superpower as metaphor:
-Superpowers are not just a physical manifestation of control, but metaphor for 'the other'.

TV Theory- Postmodernism TV

Twin Peaks: (Two seasons: 1990- 1991)

-Created by film director David Lynch and TV crime genre writer Mark frost for ABC network.

-regarded by critics as one of the most innovative and influential mainstream network programmes of modern TV era.

How can we define experimental?

-Challenges and/or subverts genre codes and conventions.

-Innovations in stylistic presentation (mise en scene, editing, etc.)

-Innovations in narrative (how the story is told: structure and time).

Conventional narrative formats:

-Episodic series- usually long-running (13 or more episodes), primetime, self-contained storylines and closed resolution within each show (e.g., crime procedurals like CSI or sci-fi shows like Doctor Who)

-Continuous serial (soap opera)- traditionally daytime, open-ended storylines with cliff-hangers.

-Episodic serial (miniseries)- short-run drama (more than six hours in two or more parts) which combine the closed resolution of the episodic series with the ongoing multi-arc strands of the soap opera (e.g., roots)

-Sequential series (Hill Street Blues, Miami Vice)- development of the episodic series format which run narrative arcs.

Twin Peaks narrative format:

-First season was short eight hour run similar to episodic serial or miniseries.

-Episodically threaded narrative and cliff-hanger finale of the sequential series (co-creator Mark Frost worked on pioneering police drama series, Hill Street Blues)

-Open-ended multi-character/multi-plotlines of the continuous serial or soap opera (Lynch said of Twin Peaks in a 2014 interview: 'It is a soap opera')

Genre hybridity:

Crime Genre:

-Episodic

-Forensic rationality

-Central detective character

-Crime resolution and narrative closure

Soap Genre:

-Continuing

-Emotional melodrama

-Multiple character arcs

-Crime may take weeks, months or years to be resolved.

Postmodernism:

-Ideologically disruptive.

-Deconstructs form, often in playful way.

-may use elements of high and low culture (usually through homage or pastiche)

-Meta-references or self-reflexivity (intertextuality, self-referentiality)

Mise en scene:

-Pacific North-West small town setting (rather than conventional crime genre urban city locations)

-Costumes, make-up and set design evoke 1950s (though series set in cotemporary timeframe)

-Unconventional lighting and staging (flickering neon in autopsy room, objects framed in long close-ups for dramatic effect)

Steve Finn session 1:

If you don't do pre-preparation, you may not have everything you need when shooting the footage.

The Role of the Director:

Pre-preparation-
-Understand the script.
-Have a creative vison of the script.
-Try to solve any problems at this stage in liaison with the producer and script editor.
-Prepare ideas in advance of rehearsing with the cast- motivations, characterisations, blocking and camera scripting.

Rehearsals-
-Working with the cast to achieve a mutual vision of how the scene is to be played and staged.

After rehearsals-
-Create floor plans, camera plans and shot lists in the light of rehearsals.

At the start of the shoot-
-Inform the crew of the shooting plan.
-Create a good working atmosphere.

During the shoot-
-Be in charge.
-Allow all the cast and crew to have a creative input.
-Manage the time available.
-Finishing too early is a sign that you haven't used all your resources- you have no excuses if the end result is poor.
-Finishing too late is a sign of not being properly prepared or not being flexible when problems occur.

After the shoot-
-Brief your editor of your overall vision.
-Ensure that the best material is used wherever possible.
-Step back from the scene and take an objective view of your work.

At all times-
-Take a responsible attitude to the safety of those around you.

Most of the time, directors do not have their final say; the producers who are giving their money to the production have the final say and would often contradict the director's vision.

Director Presentation

DIRECTOR PRESENTATION

Chosen Director:

JOHN GLEN

John Glen was born 15th May 1932 and is a British film director and Editor. His works span from the years 1945 to 2001 in which he has contributed to several notable television works shows and especially popular films, most notably from the 70 s and 80 s. These range from the editing of television commercials for shoes and car is American and Canada as well as editing Television shows such as 'Man of The World' and 'Danger Man' in the 1960 s.

Glen's notable film contributions include being sound editor on 'The Third Man' (1949), 'The Green Man' (1956), 'Three Men in a Boat' (1956) and 'The Italian Job' (1969) as well as Second Unit Director on 'Superman' (1978). However, Glen is most notable for being the director of five James Bond films, from towards the end of the Roger Moore era to all the way through the Timothy Dalton era. Most of these films were successful. However, John Glen's directing contributions outside of the 007 series have been unfortunately critically panned, especially the squeal to an already failing series 'Aces: Iron Eagle 3' (1992) which receives a 0% on Rotten Tomatoes.

Main Directing Credits:

-'For Your Eyes Only' (1981)

-'Octopussy' (1983)

-'A View To A Kill' (1985)

-'The Living Daylights' (1987)

-'Licence to Kill' (1989)

-'Aces: Iron Eagle 3' (1992)

-'Christopher Columbus: The Discovery' (1992)

-'The Point Men' (2001)

Trademark Style:

John Glen doesn't necessarily have a trademark style but instead has certain motifs which appear in the majority of his directed films. One example is the uses of animals in his films. Glen is known for ( and sometimes criticized ) for his uses of animals for comedic effect. For example, during certain scenes in his films, he would cut away from the action to show animals reacting to what is happening around them. The most infamous of which was not actually from one of his directed films but as an editor in 'Moonraker' (1979) in which he creates what has become known as the 'double-take pigeon'. 

He also uses comedic reactions from bystanders to create comic relief within an otherwise serious scene.

Glen also uses animals to create small jump-scares. These are created in the form of a bird or other animal suddenly jumping out near the lead character as adding more tension to an already perilous situation. Another motif used is a reused sound bite whenever someone falls from a great height. Where other directors might use the famous 'Wilhelm Scream', Glen repeatedly uses a scream that strangely resembles the sound of an elephant. 

John Glen also is known to recast his actors in other film roles, reusing actors such as Benicio del Toro, Robert Davi and Maryam d'Abo. 

Chosen Scenes:

The scenes which I have chosen to film are all from the film 'The Living Daylights' (1987) with all three scenes running in sequence in the film itself.

The scene involves James Bond following a woman named Kara who is suspected of helping her boyfriend defect from Russia. He follows her onto the tram and she is eventually taken away by the police for questioning. However, she leaves her cello case behind which Bond takes and discovers that there is a sniper rifle inside. He finds her adress in the case and meets Kara at her home, confronting her about her boyfreind and offering to take her away from that area and escape the police. The end involves both Bond and Kara making their getaway.

1:

https://www.youtube.com/watch?v=qHTyWbZPMgE

2:
https://www.youtube.com/watch?v=IDR79syQBlo

I chose to re-film these scenes, partly due to my own knowledge of the film itself and because these scenes are primarily shot through action with very little dialogue. This would give me a great opportunity to be experiment with shots to retell the story. Also, these three scenes contain a small story within themselves which is resolved by the ending of the third scenes. Allowing me to tell a complete story that will be cohesive in the six to seven minute time-frame. 

These scenes also do not contain any of the stunts that the series is known for and I would not want to try replicating anything like that at this time. The dialogue that is here is interesting, although I will tweak certain lines so that it wold fit the shorter narrative.

Casting

Casting:

What cast do I need?
-Beak down your script into the requirements of cast.
-You should aim to 'cast' all of the main characters.
-Any passer-by/ extra type roles can be filled by friends.
-You cannot change the sex, age or ethnicity.
-It is fine to cast multilingual roles as English.
-If you have to change the character make-up, then it must be for a very good reason. Evidence must be provided that backs up your choice.

Character Profile:
-Help to start to picture the person and helps to advertise the role.
-Help to understand who the character is.

Casting the 'Rules':
1: Always be very clear in your communication that this is a student project.
2: Offer, as a minimum, to any actor working on your project:
-Travel Expenses, food and drink, and a copy of the finished project.
3: Every actor/ producer/ contributor needs to sign a contributor consent form and ideally the artist contract (can be found under Forums and useful information).
4- Treat as a professional relationship, treat with respect. make sure it is a worthwhile experience for them.
5: Good communication is key to finding and keeping your cast.
-Time, place, directions or pick-up point etc. call sheet.
-Use a suitable communication tool.

Casting Sites:
-Casting Call Pro
-Star Now

Auditions/ meetings:
-If you have enough responses you should arrange to have auditions/ at least a meeting.
-This can be done at the Maidstone studios.
-Skype calls.
-Do not meet them on your own.

Taxi Driver: Screen Language

Taxi Driver
Screen Language:

-Must learn and continue to learn throughout careers as writers, directors and producers.
-A complex integration of visuals and sounds.
-Allows you to add layers to the story that go beyond the words on the page of the scripts.

Taxi Driver:
-Directed by Martin Scorsese, prime example of a director adding layers.
- Made on location with no special effects.



Characters:

Travis:
-looks ordinary
-Layers come away as more layers appear within the character
-He is a former marine, this is all visually conveyed, revelation of the character; signifies a change in character.
-Mohawk used to appear threatening, reference to the Airborne Division.
-Becomes the soldier again, shows new wounds, both physical and characteristic.
-The Anti-Hero.

Betsy:
-wears white, purity,'an angel'.
-wearing red when she meets Travis, power, lust, provoking.
-Ending scene, becomes a pair of eyes, Travis's imagination, loss of Travis's interest.

Iris:
-A friend
-Understanding
-Blind to what has been going on around her. End scenes, blind to Travis's actions.
-Innocent.

Other characters:
-Unique
-Distinct
-Invested.

Suit of Armour:
-Travis Mohawk- Travis is going to war.
-The Man with no Name- 'A Fistful of Dollars'.


Setting/ Location:
-Time/ setting/ tone/ character/ mood/ authenticity/ story.
-Cornered/ framed/ trapped.

Scorsese colour palette: Red used to signify foreshadowing or emotion.

Perception/ Perspective:
-How you frame as the director- the perspective you provide- is the key factor in how an audience perceives the story.

Key director moments:
-Characters...
-Where you set the story...
-How you frame and light the story...
-How you edit the story...
Rhythm/ Tone/ Mood/ Sound

Chosen Scenes:

The scenes I have chosen from to recreate from Director John Glen are from the 1987 film 'The Living Daylights'. 

Although this is indeed a Bond film, starring Timothy Dalton in the lead role, I have sensibly chosen several scenes that do not require any stunts or big action sequence. The three scenes actually run in sequence in the film itself and follows a small investigative story of the main character trying to work out how a certain person is involved in previously occurring events. 

I chose these scene s in particular because I believe that they would be quite simple to film and involves a small mystery with the added sense of humour in certain areas. Again, I will have to cast appropriate actors for the roles intended.

Here is a run down of the scenes:

'The Living Daylights Scenes Run Down'

Tram Scene:

Kara walks out of a building, Bond is by the wall. Kara walks past Bond who turns to watch her, then starts to follow.

A view of the tram going past.

Cuts to Kara on the tram, then to Bond on the same tram, facing her. He moves in close. Kara has a cello case with her, she moves to it as if protecting it.

Shot of outside, a two men step out of a car and walks towards the incoming tram.

View of men from inside Tram. Kara moves away from the cello case to take a look, POV of Kara. Bond looks around to see one of the men boarding the tram and heading towards Kara. Kara tries to escape, man grabs Kara and pulls her off of the tram. The cello case is left behind. Bond watches them, Bond POV.

Shot of another man stepping out of the car, close-up on face. The two other men bring Kara to him.

Shot of Bond in the window of the now passing tram.Bond POV, unknown man grabs Kara and puts her in the car. The car drives off.

Rifle Scene:

The tram pulls up, Bond exits the tram holding the cello case. Shot of public toilet exterior, Bond enters.

Interior of publi toilets, Bond walks in and enters a cubicle. Shost of a janitor looking as he sees Bond prop the cello case on the ground.

Bond is sat on the closed seat. He opens the cello case. He pulls out a sniper rifle. He relaeses the clip, the janitor looks on as he hears the clicking noise. Two blank bullets fall into Bond's hand. Close-up on Bond as he puts them in his right pocket.

He then takes a piece of paper from inside the cello case. It reads:

'Kara Milovy, Kvetinova' Uuce c 27 Bratislavia, Telefone' c'islo 63521'

It is her address and contact details.

Kara's home:

Shot of exterior of Kara's home, she walks up to the house and enters. The same car from earlier appears from around the corner and pulls up near the house.

Kara enters one of the rooms in her house, POV of Kara, it has been ransacked. Bond appears behind her with the cello case, she notices him as he comes into the room and puts the cello case against a small table.

Bond: I dropped the gun in the river. (closes the door behind him) KGB made quite a mess.

Kara: You're English. Who are you?

Bond walks towards the window and turns to face Kara, then he bends down to pick up a picture of a man.

Bond: I heard you play the consevatior yesterday. (stands up and faces her) It was exquisite. I saw what happened on the tram. (takes a look out of the window) Where'd they take you? (comes away from the window) KGB Headquarters?

Shot of Kara, confused.

Kara: They released me this morning.

Bond: Take a look across the street.

Kara moves to the window and looks out. POV Kara, she sees the car outside.

Bond: They let you go so they could follow you.

Bond sits down at a nearby table, the picture is still in his hand.

Kara: I don't understand. Why are you trying to help me?

Bond: What did Pushkin want? Did he ask you about Yorge Koskov? (puts the picture on the table, it is the man of whom Bond speaks)

Kara: He wanted to know where he was.

Bond: Did you tell him?

Kara: No.

Bond: That was clever of Yorge, using blanks. (shows Kara the blank sniper bullets) Made the British believe his defection was real.

Kara: How do you know that?

Bond: He told me.

Kara: You saw him?

Bond: Two days ago, he's safe and sound.

Kara: You're a friend of his?

Bond: We've been through quite a lot together.

Kara sits on the chair opposite Bond. she appars to be happy.

Kara: Yorge, he kept his promise that he'd send for me. Where are we going? To London?

Bond:No, not yet. The British think you'll be safe if we keep you moving around for a while. We might catch up with him in Vienna.

Kara: (stands up) Vienna?

Bond: But we must leave immediately, (stands up) before they pick you up again.

Kara: But how?

Bond: We'll manage. Get packed. You'll need some warm clothes.

Quick escape:

Bond looks outside the window once more as Kara walks off screen to pack. Bond POV of car outside. Shot of the driver of the car, looking towards the entrance of Kara's home. POV, sees Bond exit the house and head towards his own car. Then sees Kara head in the same direction with the cello case in her hand. She enters a telephone box.

A tram obscures the car driver's view of Kara. When it passes, Bond drives off in his own car. A shot of the exterior of Bond's car show that Kara was ducked so that no one could see her. she gets up and sits in the seat properly.

Bond: It looks like we got away with it.