In the beginning was The Script. And behold, it was Pretty Good. And so, the writers stayed up late and made The Script into The Shooting Script. Which wasn’t so hard, in that it meant (primarily) that each scene got numbered and that we put Continued at the top and bottom of script pages that actually, you know, continued. But it also meant we had some ‘splaining to do. Scenes that were “you know, then stuff happens” had to start getting a little clearer in terms of what we see and in what order.
But, The Shooting Script came to an end and now it was time for “The Breakdown Sheet.” And so it was another late night.
The Breakdown Sheet is a way to get more specific about a scene. Who’s in it? What costumes do they wear? Are there special effects? A pretty straight forward list of what needs to be on this stage to make movie magic possible.
But, it also calls for a shot list at the bottom of the sheet. And that is where you’ve got to get real about the cinema grammar you are using. How do we go from here to there? How do we show this and how do we achieve this effect with the audience? Start close in? Go wide for The Spielberg Reaction Shot Homage? How wide? That is what we’ve been doing late tonight. Not done yet, but Angie and I understand better what we’ll be asking of our cinematographer on Day One of Principal Photography for The Dead Votes Society.
Can’t wait to see it. Actually, can’t wait to sleep. But THEN…can’t wait to see it.