With this scene, I was trying to make something that was fun to watch, showed the ruthlessness of the film industry, and also showcase this one character, Lester Siegel, who is a hot shot producer who can talk his way out of or into anything.  This scene is a power struggle, or at least seems to be a power struggle.  Klein seems to have the power for the first half of the scene, and then it shifts to Siegel the second he starts making his case for what he wants.  However, with further study, the power remains with Siegel the entire time, he just makes it seem like it’s not for fun.  This was a cool idea to play with, and so I tried to capture that with the angles the characters were at and with different focal lengths.  For the first part of the scene, when the power lies with Klein, I put him at a super low angle and the other two characters in a two shot to imply closeness.  However, even when Klein has the power in the scene, I used a longer lens on him than I did with Siegel because I wanted him to seem a little more other-worldly and dynamic than the other two characters.  The Mendez character, who has no idea what is going on or how to help in this scene is shown in a flat close up that emphasizes his lost-ness and very distinctly separates him from the movie world, which he is not a part of. 

I think I was mostly successful with this scene.  I wish I could have found a location with a desk in-between the characters to create a surface division.  I wish I could have not shot at so early in the morning because the lighting changed and you can tell.  And I also wish I would have set up a light for the master, because the characters look shadowy and that’s not what I wanted.  And then I also could have tried harder to curb performances.  I think I wanted more eccentricity from Adam.  But with another look, I think it’s fine and is good as just a different take on the character and performance.  I learned a lot from this assignment.  The importance of having a firm and clear idea of what the scene looks like – I think I mostly had that with this and that helped me a lot with the planning and come shooting.  I learned that it’s easier to shoot with two cameras, and especially easier to edit.  And the value of having a script supervisor, who can tell you when something doesn’t fit continuity wise.  That’s really valuable. 

   1.  What is the story of this scene in two or three sentences? In other words, what happens in the scene?

In this scene, two men who are trying to secure a contract for a fake film are talking to Max Klein in order to get the rights to make the film.  After Siegel lays it out that Klein will not get a better deal than the one he is presenting him, Klein agrees to sign over the rights to the men.

2.     What is purpose of this scene in the larger story? (Or, if there is not a larger story, invent the purpose of this scene.)

The purpose of this scene is to show one of the obstacles that the agents have to go through in order to execute this exfiltration operation.  Under the guise of making a movie, they are going to recapture the six people being held hostage in Iran.  They have to make their cover story believable, so this scene where they are securing the rights to the script is depicting just another hurdle for the team.

3.     What is the emotion I want to communicate?

I want this scene to not be tense at all, but fun and a bit sarcastic. 

4.     Why is this scene personal to me? What previous personal experiences does it remind me of? Why do I need to make this scene?

This scene is personal to me, because there’s an interesting thing going on with the importance of making movies.  This is a cool business negotiation scene in which one character very cunningly outsmarts another to get what he wants.  I feel like this is really important in the sense that this is something that I am scared to do and have to deal with.  And also, the severity of the situation is great in the film and it feels the way I feel about succeeding in my career. 

5.     What, specifically, must the audience understand narratively and feel at the end of this scene? How do you intend to make sure this will happen?

They should understand that the main characters have succeeded and are a bit closer to their goal.  They should have heard the things Siegel was saying and understood that he is a business man: he is good at manipulating people.  I can be sure this happens with proper direction of acting.  Acting is going to be really important with this scene to convey what’s happening. 

6.     What two visual elements (line, shape, space, tone, color, rhythm, movement) will you use to help communicate the emotion of the scene?

I want to play with camera angles and space.  I’m going to try and create flat space behind shots of Klein and have deep space for shots of Siegel and Mendez.  This will hopefully convey the trapped situation Klein is in and allow us to see Seigel and Mendez as more dynamic characters.  Also I want to have a lot of high angle shots of Siegel to minimize him, and low angles to maximize the other two. 

7.     What are some potential obstacles to creating a successful scene? How can you be prepared to overcome these?

Some obstacles I think will be in finding an appropriate location and finding the appropriate actors.  I want this to have a very specific feeling to it and the location is going to have the most affect over that.  I have a backup in mind that will be available to me no matter what, so that’s my safety.  But I am on the look out for better options.  And then the actors I think need to be right, as always.  Siegel especially needs to by dynamic.  So I think I can overcome that by having auditions. 

1.  What is the story of this scene in two or three sentences? In other words, what happens in the scene?

Irving and Rosalyn are in their bedroom fighting about a fire that occurred earlier due to Rosalyn’s lack of attention.  Irving brings up the fact that they are not happy in their marriage, and Rosalyn tells him that she won’t let him leave her. 

2.     What is purpose of this scene in the larger story? (Or, if there is not a larger story, invent the purpose of this scene.)

This scene sets up the relationship that Irving and Rosalyn have.  It allows us to see how they fight with one another, but also to see the pull that she has on him.  She is manipulative and cunning.  She knows what she wants and she knows how to get it.  This is the first time we see that with Irving. 

3.     What is the emotion I want to communicate?

There should be a general sadness conveyed due to the fact that he and his wife aren’t happy, and also a sadness conveyed due to the fact that he can’t really get away from that.

4.     Why is this scene personal to me? What previous personal experiences does it remind me of? Why do I need to make this scene?

I think it’s really prevalent and relatable to be in a situation that makes you miserable because you just have to be there. Sacrifice is universal, and sometimes sacrifices leave us worse off than we ever thought we’d be.  I definitely have experience with being in situations I couldn’t get out of, and so even thought I’ve never been stuck in a bad marriage, I can still relate to the sinking feeling of being trapped. 

5.     What, specifically, must the audience understand narratively and feel at the end of this scene? How do you intend to make sure this will happen?

What should be translated to the audience is the weight of the situation Irving is in at home.  They should feel how much of a hold Rosalyn has on him and see the almost pointlessness of his trying to get out of the marriage.  I think I can convey that with slow push-ins to extreme close ups on his face as she kind of talks to him at the end about how she will not divorce him.

6.     What two visual elements (line, shape, space, tone, color, rhythm, movement) will you use to help communicate the emotion of the scene?

I’m using color heavily throughout.  The lighting will be low-key high contrast colored light.  Probably green or red tinted.  I want the room to feel claustrophobic, so limited space will also be utilized.  And I just want things to feel sweaty and grimy and dirty. 

7.     What are some potential obstacles to creating a successful scene? How can you be prepared to overcome these?

Performance here is important and will be super helpful in conveying the emotions, so if I don’t get actors who are capable and I can’t get the performances I want out of the actors, it could be problematic.  I think auditions will be a good thing to have before shooting.