Forlorn, script

Script:

Week 1
Fade In:

EXT. FARM. DAY (early autumn season)

Entrance of the farm. Panning shot. A series of different shots of the worker tools and work place (a map of argentina). No people, no sound, natural sound.

INT. FARM HOUSE (In Bed). DAY.

The WORKER wakes up; he is in his bed all spread. He reaches with his hand the side where his wife should be sleeping. She isn’t there, instead there’s two letters. The worker sits on the side of the bed and reads the one from his wife. No face expressions are shown in the scene. Disappointed, he grabs a portrait of him with his wife; he takes a look, and puts it facing down on the table.

The letter says:

“No aguanto más. Chau”
(I dont take this anymore, bye)

The second letter looks more serious. It’s a letter from the state of Buenos Aires, it says that the Retenciones are going to rise to 65%, and if he avoids paying taxes he will be evicted in the 2 months. His face expression is of anger.
He Takes ring out of his finger; he looks it for a moment and puts it on the table.

EXT. FARM HOUSE. DAY.

The WORKER is cutting the grass. Driving a tractor.

INT. FARM HOUSE, DINING ROOM. NIGHT.

The worker is having dinner alone. There is two sets of silver wear. He looks to the open window.







Week 2

Ext. Porch. Morning

Worker Gets out, sits down on a bench on the porch. He ties his boots.

EXT.

(O/S)
Tractor sound.

Worker cutting grass.

Worker hammering woods, very strong until he hammers his finger.

Worker:
“Aaaaa!” (breathes heavily)


INT. BEDROOM. NIGHT.

Worker sleeping wakes up when he hears strange noises. Goes to the bathroom washes his face, watches at the mirror and stops hearing this noises.

Week 3


EXT. FARM. DAY.
Worker cutting plants with a machete, cleans up the sweat on his face, looks at the horizon.

EXT. FARM. NOON.
The clock points 5:22. Water boiling inside the kettle, worker grabs the kettle and goes outside. Sits down and starts drinking Mate, his site is of absolutely nothing. (signs of time passed can be noticed, His beard has grown a little, and his face looks exhausted). Worker goes to the entrance of the farm and closes the fence.

Week 4


EXT. FARM. DAY
Worker playing solitary game alone.
Noon, worker throws wood at a pile of branches and lights a fire (its cold, and the worker is shaking). He starts hearing his dog barking.

Worker:
“Que Pasa?” (calming his dog down)

He has a look at the open farm and sees a light far away, he goes and gets his shotgun. When he is close enough the light turns off and he shouts with anger:

Worker:
¿Quien anda ahi?; Repeats it again. Nobody replies.
WHO IS THERE? REPEATS IT AGAIN.


Worker looks worried & runs back home.

Week 5


EXT. FARM. DAY.
Worker digging with shovel, exhausted, hard breathing. The worker looks at the horizon & has an ilusination of a man who passes by the road.

Worker:
“Eeey, Eeeeey”

(There’s nobody down that road)

INT. FARM HOUSE. NIGHT.
He listens sounds outside, He opens the main door that has a particular lock. Nobody’s there.


EXT. FARM. DAY.

Everything in the farm is very abandoned, very dirty, disorder (the grass is quite long, tools are thrown outside the barn)

INT. BEDROOM. NIGHT.
Worker can’t sleep because of noises; he is feeling a lot of cold. Door opens alone.

Week 6


EXT. FARM. DAY.
Chain saw sound, fade. Worker cutting wood. Starts crying. (he is miserable without his wife). Throwing things, looking for his ring.

Worker enjoying a silent fire, a couple of beer bottles are thrown around him. He starts hearing sounds again. Picks up wood with fire and starts striking things with the fire stick. Faints (he’s clearly been drinking).

Week 6 day 2

EXT. FARM. DAY.
Fire turned off. Smoke. Worker wakes up with bright sun.

A rope that used to be in the barn is now missing. Worker tying the rope to a tree branch.



Fade Out:

-Credits-

The End

Important Essay to read

http://www.jademyst.com/essays/10.html

Shared Nightmares: Horror films and society as mirrors
by Ronald Hogan

Works cited:

American Psycho. Perf. Christian Bale. Muse, 2000
Bellamy, Patrick. "Henry Lee Lucas: Deadly Drifter." Crime Library Court TV. 12 Dec 2003. http://www.crimelibrary.com/serial2/lucas/

Briggs, Joe Bob. Profoundly Disturbing: Shocking movies that changed history! New York: Universe. 2003

Briggs, Joe Bob. (joebob@compuserve.com). "RE: College Student Needs Your Help." Email to Ronald D. Hogan Jr. (solswolf@hotmail.com). 14 October 2003.

Carrie. Perf. Sissy Spacek. Redbank, 1976.

Dika, Vera. Games of Terror: Halloween, Friday the 13th, and the Films of the Stalker Cycle. Cranbury NJ: Associated UP. 1990.

Dirks, Tim. "Film History Before 1920." Filmsite.org. 02 Sept 2003. http://www.filmsite.org/pre20sintro.html

"DVD & Video." Film Glossary Barnes & Noble. 12 Dec 2003. http://video.barnesandnoble.com/search/glossary.asp?LTR=M&TRM=1006136

Ebert, Roger. "The Texas Chainsaw Massacre / Zero Stars." Chicago Sun-Times. 12 Dec 2003. http://www.suntimes.com/output/ebert1/wpk-news-texas17f.html

Evil Dead 2: Dead by Dawn. Dir. Sam Raimi. Perf. Bruce Campbell. Renaissance, 1987.

Freeland, Cynthia. The Naked and the Undead. Boulder: Westview. 2000.

Gray, Brad. Box Office Mojo. 12 Dec. 2003. http://www.boxofficemojo.com

Grineau, Joel. "Origin of the Comics Code Authority." The Sideroad E-zine .12 (1998). Retrieved 12 Dec. 2003. http://www.sideroad.com/comics/column12.html

"James-Lange Theory of Emotion." Changing Minds.org. 12 Dec. 2003. http://changingminds.org/explanations/theories/james_lange_emotion.htm

King, Stephen. Danse Macabre. New York: Everest House. 1981.

"Memorable Quotes from Scream (1996)." The Internet Movie Database. 12 Dec 2003. http://imdb.com/title/tt0117571/quotes

"Mother's Day". Futurama. 20th Century Fox. 14 May 2000.

Psycho. Dir. Alfred Hitchcock. Perf. Anthony Perkins. Shamley, 1960.

Rosenberg, Jennifer. "Dewey Defeats Truman – The Election." About.com. 12 Dec. 2003. http://history1900s.about.com/library/weekly/aa030300a.htm

Sheslow, David. November 2000. "Being Afraid." Kids' Health. 12 Dec. 2003. http://kidshealth.org/kid/feeling/emotion/afraid.html

Shining, The. Dir. Stanley Kubrick. Warner Brothers, 1980.

Skal, David. Screams of Reason. New York: Norton. 1998.

Texas Chainsaw Massacre, The. Dir. Tobe Hooper. Perf. Jim Seidow. Vortex, 1974.

Waller, George A., Ed. American Horrors. Chicago: University of Illinois P. 1987.

Research skills

Books to read:
The Dark Sacrament: True Stories of Modern-Day Demon Possession and Exorcism by David Kiely and Christina Mckenna

Interview With an Exorcist: An Insider's Look at the Devil, Demonic Possession, and the Path to Deliverance by Jose

The Possessed: True Tales of Demonic Possession by Brian McConnell

The Division of Labor in Society by Emile Durkheim

Sites to visit:
www.imdb.com
http://www.bfi.org.uk/
http://www.filmeducation.org/
http://www.bfi.org.uk/sightandsound/
http://www.guardian.co.uk/film
http://www.cinenacional.com/
http://www.bbc.co.uk/blogs/markkermode/
http://www.reverseshot.com/
http://rogerebert.suntimes.com/
http://www.filmsite.org/
http://www.ukfilmcouncil.com/

Essays to read:
Possession and exorcism: an essay review Journal of Parapsychology, The, March, 1995 by Ian Stevenson

Student Essay on Comparing and Contrasting "The Ring" and "Ringu" By Barry Keith Grant

Anamorphic allegory in The Ring, or, seven ways of looking at a horror video - http://irishgothichorrorjournal.homestead.com/ring.html by Brian Jarvis.

DVD with director’s commentaries:
I am also going to watch besides the two movies I have chosen, “The Ring” (2002) a film from the USA directed by Gore Verbinski as it is the remake from “The Ringu”. And as a foreign film, “Chakushin ari” (2003) from Japan directed by Takashi Miike.

Other: (youtube interviews, makings of…)
http://www.youtube.com/watch?v=jGdbbVcKJlc
http://www.youtube.com/watch?v=49xSaGM9stQ&feature=related
http://www.youtube.com/watch?v=ThPPK8A1qP8
http://www.youtube.com/watch?v=yh4euqjac9A
http://www.youtube.com/watch?v=7MdwxYQZpm4 (An Evening With Dr Mark Kermode)

EDITORS

Editors:
This entry should be more about the role of the editor in the film process. You could choose your favourite editor and use them to illustrate the role of the editor. You should aim to answer the following questions:

- Who do editors work with?
It depends of the flexibility of the editor, in some cases, they have a separate auditory so they may work with the whole team, while in other cases, they may give the editor the raw material and "manage you way to edit it".


- Can you see, define, or even tell an editor's style
No, it's almost impossible at our position, maybe if you are another film editor, you can recognize anotherone's work. As Agnès Guillemot, editor of her last film "Un steack trop cuit" (1960) stated "It is possible to recognize the “footprint” of an editor as it is that of an orchestra conductor of a musical work. But the editor must embrace the personal rhythm of each director and not impose her own."


- How do editors define their work on production, or their own work?
They define their work as putting together the "stuff" gaved to them, or in other words to join the puzzle. Although this work is not on production but better said post-production work.

- How much creativity, or flexibility, are editors allowed - do they make any decisions or are the final cuts in the hands of the producers and directors?
I think it's kind of question one. "I would say there have been two main influences: 1) The good director who provides enough material to allow total flexibility—for his ideas, and for his tenacity. 2) The poor director, who provides indifferent material and often not enough of it. Here the editor’s left with only one way to go—to pull something out of the bag." Ernest Walter.

- How has the process of editing, technically or creativiely, changed over time?
The editing job has been changed through time in a possitive way, although its complex with the time, it has more support from technology advances. Renée Claude Lichtig, a XX century, french editor stated for the Editors Guild Magazine "The greatest transformation in the editing of the films of the Sixties was brought about by Jean-Luc Godard. He found a new continuity in the manner of telling a story in time by utilizing ellipses in the editing of the images. These changes took place after the first films of Godard. He influenced the filmmakers of the whole world."


- What will you do in the pre-production and production stages to fulfil your role as an editor?
Work together with the cinematographer and the director, in this case Matias Bianchi and Francisco Guerini, because in response to what we agree my decisions will vary, this is why I need to be involved in the discussions. I will always talk to my group before editing what I want, to see if they agree.

Film Editing

Film editing, is the process of selecting shots, arranging and modifying them in order to clarify and refine their form and content. editing is in the post productino of the movie and should be anticipating when writing the script.
A film editor splices separate takes into a coherent film. It is not a simple matter of tacking the scene inside the house on after the scene of the man walking up to the front door. In the film industry the editors play a dynamic and creative role.

New Editing Systems

"New editing systems are moving into prominence and will be added as one of the many editing tools. Experienced editors should do well with these systems, but I'm not sure about how the emphasis is placed. The name of this game is editing. The computers will not edit for you, you must do that. The emphasis should be on the creative editing process. It takes many years to develop into a competent editor, capable of making a contribution, but it takes only three or four weeks for an editor to learn which buttons to push in order to make cuts and overlaps and things like that. Whether your editing decisions are fast or slow, those editors who have sufficient experience will creatively support their directors with suggestions and ideas and not just be pushing buttons. So prepare yourself. Not only on the mechanics of these devices, but more importantly prepare yourself with the techniques and aesthetics of film editing. When I learn the Lightworks and the Avid, which I'm in the process of doing, I'll be able to bring my experience into that arena. It is just another scissor. If I did 'Schindler' on a Lightworks it would look just like it looks now. But the Lightworks won't edit for me. I must do that. Audiences don't know what you work on. But I'd love to see more discussions and more talk about aesthetics and creative editing than about mechanics. What I bring to it is a lifetime of experience. Now the young editors that want to grow, you can learn to push the buttons, but you better learn how to edit as well. Learn what makes pictures work. That's the important thing.

Style of Editors

Michael Kahn, http://www.blogger.com/post-create.g?blogID=3329405671801322942, A lot of what we do is rhythm and pace and feeling. We do a lot of things from feeling, not necessarily from knowledge. I edit with music. Whenever I go on a picture I always do research before. We find music we'd like to use and it's good to put music in - even if it's wrong ... it's good as a guide. It helps the emotional level. There was a lot of music [in 'Schindler's'] but it couldn't be big big score, it had to be something that's more introspective". I never know whether I'm doing good or bad in a sense - whether it's a great piece of work or not. I think attitude is very important and - if I do anything right, I think it's my attitude toward film, my approach to the director of the film.