So in ten minutes from this moment right now uh you have to start sending marching orders out here. We'll never start shooting so should your primary focus carson your first eighty so you r favorite tool right now what's your watch just called sixty days tennis reviews have clear set up plan I would bring ed back in here before you sign off on anything. I keep him with you to keep your track on that you can use it with these two gentlemen and make sure they don't know go south that's kind of where I'm at they got they got ten minutes just happened. Yeah, our initial thought that was getting her from the car. You office is hard. You thought about cheating door you know that that's a bullet shot way have this fish tank and that's gonna be a juxtapositions zoom in on the fish paying down or tilt down two bullets wailing car we could if you want to use the fish tank in the tilt shot a title shot that's kind of way got the title of which gives us reason for it to be so this's music change o...
ur introduction to second way were kind of hoping that having him come after the fishes somehow establishing that he has this office with this school mafia boss if if you introduce the tank is being in the office she can't walk past you know you don't know the way outside looks like a lobby okay, sawyer what? You don't see him in the den, right? So just a cz faras the shot order fish tank his change human his desk then cut her then she walks by the fish tank means that she's in the same building is him. Yeah. Um given the constraints of your shooting, I think her is probably one shot. Yeah, probably outside in the vehicle, probably from the back seat but you guys figure out the shooting part where we see her car building entry way can't shoot outside this building now we're told that makes it hard here hence the foot close up yeah, but it could be heard car dash garage door opener done in purse she leaves frame had a maximum of six or seven shots total. Yes, I'm saying that's one shot so somehow get her in here with a gun in a shop. On the other hand, we were kind of wondering if she's this possible skilled assassin does it even relevant to show that she's entering a building you know, like she could just slip in is that ad right that it is a gun helping or hurting here? Can't you be walking down the hallway and just reach down and have a reassuring pat on it in her purse well, this fish tank shot was also not only the entry shot back to the office but it also was missing we saw the gun in the car now we see the purse as she walked by the distinct let me make sure you guys the idea here just so we're on the same page was to shoot a great opening sequence that establishes this gentleman is counting money in a room of some kind me with a fish tank and when pulling in stepping out of the car period okay whether or not you choose the gun or not but I did, but I you know, that's it we're trying to do very small secrets of things done well, are you on the same page? Yes. Uh there's a constraint that it happens with endorse it's. All right, so if you have that constrain, how would you guys think of having just go with this? You can the shot of the fish tank, the wide shot of his office on the door opening a garage in the car pulls in that's the suicide door opens from perhaps overhead or something else she steps out that's it. Okay, yeah, it that's the only way to deal with sweet, short and sweet and solid because we because we need two shots of further and thanks for here first and if we're stuck just doing the foot right it's really not enoughto and if you could just alive you're set up for you so that I get matthew here were your common is is we really need to communicate her arrival into the scene and our shot selection of just a foot stepping out isn't enough toe know absolutely is because it keeps the mystery but it's it's it's yeah it's it's the like that's the last shot is this yeah foot coming out but one of the things that even mind we don't really do show whoever screwed she is ever you know she means mysterious person was you know, the car, someone driving cars, the carpools then door opens it's a shot from above you can see the suicide door opening another way then you would not national expect and then it custom shot are stepping out on you stop so you never really even ever need to show her show her leg uh your real character so far is this guy counting money and here's your chance to give a sense of setting he's gives you the chance to see the reflection in the glass is gonna give you the reason to show this really cool fish tank with shells and is there any reason we need to do the roll up ways to roll and we do a slider shot from the wheel and even moved the car six inches has just cut the wheel just moving, the car stops slide over and she sure stuff out. You know what problem I have with that is most cars can't drive in the building's uru establishment, she's in this in this room with the car's, not in the room sunday night, we shot filled. The whole thing is like a film, though. Are things going so where's your transition back to its original question? Where's. The transition through this building so she's not in the parking lot. She got out of the car, she's in the parking lot, just getting out of the car. Okay, so where's your transition train where she entered that world and enter his world here. Wait. We've eliminated that because transistor shots were eliminated. No, even the intro piece. She has to start in one world. And in this world, you need a transition from a to b, okay, so, yeah. I'm missing the whole picture. I kind of felt like we were just gonna have her arrived foot on the ground and that's it, that's her, don't they have someone holding in a car with foot coming out, you've got someone counting money, uh, is this changing story that you have two parents? Things happened simultaneously in different worlds, that's, one way of dealing with it, but the audience never knows. These worlds are gonna connect, so so, basically, what we were trying not to do is you want us to show the death and the car. You know, I want you to connect these two worlds together. You guys know the story. You guys know what you mean. The connection was on message. You guys know what you're trying to do. Your audience has no understanding of what you're trying to do. You need to communicate whatever it is you're trying to communicate to them in a clear wife. Yeah. You find any shot? I could put it that establishes there's a connection between our door open carpoint door up in front of karr are touching the door, touching something that gets her into a building. It could be her walking through that door on the right way. We're doing some technical limitations here way. Just you will deal with technical limitations in every single thing you ever shoot. All these issues were not I'm not gonna be there. I have a quick solution here way. Just start on that door opening up, pulling up him, doing the look up. And now we have looks over a car and then it pulls it way back. We're in a warehouse we have to deal with. So when he's looking up he's not seeing a carpet he's registering the noise or something besides boom. Now you can do the straight shot on door rolling up car, you know, get it this high up next, then facing over to him. Going, goes over, reaches, now, you had back over. Cars now magically in you know it's linked now foot comes out step that works for me. I mean, do you see? I mean it's. So it is a lot that you want your shot sequences again in your head. Fish tank title shot. Got it. Him counting money got some sort of, um detail, but the door starting open shirt back to him counting money car pulling in, like coming out him recognizing something's going on lakes. Nothing out of the nice thing about that. And you could do mohr of him using from intercut it's easy for you to shoot a bunch of him and then we have car. He looks down at the money a little bit more than car. He opens a drawer cars coming further in he's you know, you see what's in the drawer, you see is you know more if you just set up on him. And what time? Just by changing your focal length, I could get a lot of milk out of that. Sure. And just by intercutting, we can make the scene longer. Shorter center timing. We haven't used your shot of him and you just described is your accordingly, so that could get longer or shorter as we need and we can pull more out of it and there was one area that I got stops a confused by when the car comes in right? How are you showing that way? Is the car coming into the building? Yeah. Ok. So how is that happening in your film? I would recommend single shot replace it. We aim at the door now we could do you in my new pool after two shots. It's a lot of top shot looking at the car door opening and the car pulls in. You don't have to spend the whole time watching the whole thing. You won't get it because you could cut from the store starting to open to a shot of him counting his money what's gonna happen to him when the garage door opens. You know, I think it's boring what's gonna happen ahead in terms of lighting when the car door opens yeah, he's going get your match lights start to bathe him. No more sophisticated way of showing that happening. All right, guys. Amusing he's physically in the same space we were in original it's just logistics like as it is, but I hope right now is I wanna interject really quick give this car is coming in here and the door is expected to be shut all this needs to move, so no, there was not to get shot, okay, it's fine doors not going, I was simply suggesting that yeah you're just having her establishing here you can see the light you know, change the bay then if he looks up it's kind of what the audience expects to me it's a little more interesting if you never even acknowledges the fact that she pulled that you know but you can see that she's entering his world by the light started to bathe them and as long as you know wide shot somewhere that relates to together it's interesting and then the light comes out and there's no reason for attention other than you've already shot the fact that she just put a gun into her purse prior to this so I'm gonna stop talking and let you guys figure this out um but I've gotta ask the question you know what are you trying to build up here in terms of tension in the story and why would anyone care to watch this and you've gotta answer that within your group my last bit of input is you have the benefit of editor on site so feed me early and feed me off as soon as you could get a shock to me better just means give him a disc every time we're done with the shot if we don't give me and if I would recommend it since you have that ability of editor on site then you might consider your shop schedule and how the order in which you shoot so that you can see the simple stuff cut together, you know how your complicated shot needs to play out? Sure, jared, I definitely I'm going to make the call. We're going to shoot stuff with the door opening, so if you want to just start preparing with dale lighting wise and start thinking about lens selection, not camille, she did, I think our stuff that we shot all the men we've already kind of got that planned out, so just think about, you know, just probably some simple lockdowns, profile and straight on way that little same way we'll shoot the same shots fairly much just sit for a lock down, a door comes up, and I think we can just put the slider in the ground, no problem, she steps out of the car and that's it, we're done with the door open, and the last thing I'll say is we're going to step out it's really hard for you to focus on what you're doing when you're being interrupted by all of us all the time, you need to sit down for five minutes, max, by yourself or with your first aid and your dp and write down serious the shots and you guys are happy with interested that takes into account the things we warned you about from the ending perspective from the story perspective. And five minutes you got your shot list, and then you got to start working worrying about that if he needs to be by yourself that's cool. When you you look like you feel like there's like a lot going on, which there is it's really hard to be put on the spot. Um, and, you know, neither do by herself or bring two of the men or your whole group in, but in five minutes, you should have a shot list done at night and step away on a one quick tickle. You know, you have this big light sources here already. If you're simply rotated, uh, counterclockwise, you'd let your desk with a big, soft light if you want to use that, or you could turn it off and move it. Okay, so good luck. Thanks. Communicating what? You want to pull this off? I'm going away. All right. So what do you feel comfortable with using majority of these shots? I think where we're going to get a lot of help is at saint was is going to shoot some debt. We're in all around with desk. We're gonna get shot tight. Mended hands were to get his georgian a gun, we're gonna get money, and then you make me you're skipping a step yeah let me just you know, with you guys I think I think let me work this out we should do this room five minutes by myself no, I mean yeah, you know, I think uh think carson's here got so you see is it cool if I go and like this stuff totally I'm gonna stick total and except for the soap in my mind what we're doing is we're doing a title shot which it's his own fish tank thing and then we're doing two setups so thirty minutes yeah so you keep the lighting the same s o you start doing that carson's workup show so I particularly don't like the city he's fighting so I think we're making its feedback in this thing yeah, I think I I think the best any shot your foot stepping out so let's work backwards from that uh well, it just so er you have like since idea about using light teo relate the door to see if we can turn this opening to arriving um I don't know I think our crew just go I would kill you for good out there get that thing down kind of write down notes from when I say wait I think that's cool, but I think we're good story the only thing one thing we might want to do is pull it back one moment scindia light can you find a car driver? We're going to a party there I would tell him that despite all this you might or you might want to pull one of them been back on two days yeah door like just what you wanted you wanted do whatever you want teo your foot gets after I think this is cool maybe we would want to put it down little more tio got the contract can you give me some blank please? I think we are going to get face shot that's what this's like ed tv that sequence works for me the only thing we missed the only thing we missed a cz if we show her in the back seat but I got it but wait a lot of attention on him she's nothing about lakes and seas yeah, so he's he could be having a call girl coming he could weigh don't know jesus counting money she's on arrival okay, uh I'm in agreement. I like raj tore open the garage door open uh we'll do our class is shot do we went far out glide right here. Wait slow like this cross with you wait booth door tight on look way more car I want a foot piece and enter that we're gonna go see dramatically you know you're most dramatic cammie likes coming out because you have issue with so e one more room probably emphasized in eighty five to one hundred you want to stay with that we're gonna probably being around wait well there's no car keep the okay so the others remember what I said I should have wrote it down when they'd ask me so we have fifteen minutes until we're shooting fifteen minutes yeah how are you on readyto were almost lit here okay so I don't think I have time with second shot so that about down low desk we're gonna get the overall shot then get out of here like this that's good stable shot but then I want to put the start close up and you get money in glasses know what I think that's what the federal started shot okay um only because we have two wides here which could be okay because that could actually established that this scene wail get killed later and then this this would probably be a good profile shot maybe maybe even that's our slider with how you wantto castillo love it all one shot yet so then cutting open car enters I would think about should go out why don't you just forget for and then you don't rate him this one doing full out money just getting it from the things like money yeah is that a fact that dragon really that's it all right let's get uh let's get you set it yeah I like that if he has a weapon and then she says she's not going to need one way yep so our executive producer has slashed our budget slashed our timeline I think we have a solution I think works where I think I've been reading every one of your comments are making here you cool thiss were always missing you a lot of the stuff seems with definitely complicated it's a very hard thing to do under pressure todo what they've told me they've done it, you've actually gone ahead and they've cut all these different items on their storyboards and they're re ordering them on within a few minutes they're going to be ready to let their through what's coming and that's the ideas with actually almost on schedule we have not I told him they start shooting once they've got forty minutes to get the first shot rolling, but I think hopefully you'll take out of this is that there is a white better start late we'll have less time to shoot with a clear idea of what you're going to shoot just jump into it and not know what's going to happen and make all the mistakes on not be able to fix it after so I'm going to stop talking over them here slider with you to the crew in the background is working on getting the equipment going up yeah, I don't really know what they're doing because there's no story talking about went out that but hey, you know this is a crash course. This is live learnings I've pretty much been running a workshop for two days straight arrive spoon three days everything everyone and lecturing on the idea now to see what they could take from this from these two days of instruction and how they could put into would love it, my friends expect is going to be a bit of a chaotic, especially life setting on the dryer do what students all the time and it's always a little chaotic, but in the end, when they do pull something together so it's a great relief you might, I think it's a little more pressure than we've seen in the past doing it live with thousand people watching in that's a big part of what happened yesterday. I think it is one thing to mess up in front of ten other peoples, but when you mess up in front of a few hundred thousand people, what all of whom have an opinion and they can't help but to share uh, it can make anyone kind of colored matter you wanna bounce brings their meaning epic fail you wantto meaning epic fail, but they're no failures and trying uh, failure is not try it all as cheesy as that sounds mr cheesy um uh no, we're going to go for it I think in uh less than minutes I need to double shock surely very funky way between here and that will be the conclusion of this shoot that will be shot with that but I don't know if we need thio lottery ads purposes it's the same old scene I just did that I just did that to save running footage. So rating uh cool what I'm making right now is with that dress we are falling one might be able to pull the camera back let's leave it right here. Looks like they have a storyboard. Is that it right here. All right uh where you gonna copy it? Dont have time that's the story but you only have one you know what they're doing way to go I think I've done don't lose that now would be the times for john gets back we're gonna are you still director matthew? Yes. And what is your role, sid here is the line for the surge is okay. So you two are going down start to go to your crew members in each department have you wantto together right now would be a good idea and now share with them the storyboard and now they can intelligently and election are preparing for your shots because far as they know, everything I've been doing has been changed so a little freely racket was cheating and I didn't know that they had a cheat sheet to go off. So it hasn't been a chaotic it looks to me and in life, audience and all right, back to you guys.