This is a description of a drive I took a month ago from New York to Maine (roughly 7 hours).
The scene starts off with a long shot set in a dark room, focusing on a bright light coming from the open door at the end of the hall. Inside, is me, with my back facing the camera and starting to pack up the contents of my bedroom. Turning around with a box of possessions in my arms, I walk towards the camera.
he scene starts off with a long shot set in a dark room, focusing on a bright light coming from the open door at the end of the hall. Inside, is me, with my back facing the camera and starting to pack up the contents of my bedroom. Turning around with a box of possessions in my arms, I walk towards the camera.
The next shot would be a wide shot from the outside of the house with the front door on the left side of the frame. Outside would be mid-afternoon to late-afternoon as to be inferred by lighting. Walking through the door and walking to my left, the camera would start to pan to the right. Once arriving at the car, a shot from inside the rear of the vehicle or the passenger side, facing the opening door would work best.
A static wide shot would with a repeated back and forth motion of me walking to the left offscreen and to the right offscreen, would emulate packing up the car without showing the entire sequence over and over again. During this sequence I would also be often times dropping things and accidentally tilting the boxes of things.
Cut to over the shoulder shot from behind the driver’s seat of me getting into the car and turning it on. Cut to medium shot of side profile view of car, focused on driver side window with visible moving background to imply fast highway-speed motion.
Crane shot of car in traffic with others, weaving through. Either a cliche shot of sun setting to imply time passing or a cut to inside the cabin of the car from the center of the back seat or an over the shoulder shot over the right shoulder with dark lighting in and out of the car. I would then receive a notification and pick up the phone seated in the cupholder.
Closeup or extreme closeup of the phone showing that my roommate texted me that he would be out that night. then continue on with nighttime driving montage using crane shots and fades.
Static wide shot of barely-lit, lightly snowed-over parking spaces. My car comes into frame from the right and parks in one space to the left of center.
Full shot from side of me carrying a box of things unto the threshold and pressing it against the door frame. Trying to open the door, I find out that it’s locked. I jingle around my pockets in search of my housekeys only to find that they’re not there.
Cut to slow pan, extreme close-up, shallow depth of field shot of house keys laying on the ground in New York.
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