An unfinished short film that we were producing for a short film festival. Unfortunately, we did not get to enter. My friend Brandon was composing the music, which, also unfortunately, did not get performed/recorded since I had to scrap the project. I threw in some music that fit the pace just to help keep the tone and pacing somewhat intact.

Now, for the undone:

A, Here, a shot is missing that shows the two main characters, driving separate cars out of a cemetery. A few cars pull out of the cemetery and turn left (right screen). The lead (Mike) looks at the car behind him in his rear view then turns right(left screen). The next car pulls up, the other lead, (Caroline), and watches Mike drive up the road. she turns left (right screen).

B. This shot has a large continuity error because it was one of the first test shots I did with my dvx attached to the hood of my car.

C. This one needed to be redone because originally, the camera was supposed to move in front of the car, simulating the main character's POV, and then in the same shot it moves off to the side to a more objective audience POV. After that, the steadicam follows the character into and around the house. Had to cut it down though. (And the wind made the steadicam almost uncontrollable).

D. Here, Caroline watches her father and younger brother pull into the driveway. (All shots of family approaching/entering the house weren't shot).

E. A shot was missing right before this shot in which her little brother waves hopefully at her; a bitter-sweet moment in which she realizes that her family will survive, but the brother can't fully grasp that their mother has died.

F. Caroline watches the rest of the family arrive. After this shot, a wider shot reveals the family walking past her car, all staring at her, making her uncomfortable.

It would have looked something like:


G. Right before this close up of Caroline in thought, she sees her dad greeting the rest of the family, and then waving her in, telling her through his action, "It's ok. Come be with the family."

H. Here, a piece of dialogue is missing, it is: "Spotting UFO's..." It ties into him lamenting about he and Caroline's inside jokes (although this scene and most of the voice over was eventually rewritten because it got a little clunky. As a result, the lead had some difficulty with it).

I. This is a test shot. She's supposed to leave the room angrily and grab her jacket off of the chair as the camera dollies back.

J. I and J were originally going to be composited into one seamless shot. Two of the same camera moves at two different times. I wanted a seamless blend from Mike's flashback/remembrance to present time where he sits on the couch. Would have been cool.

K. This is another test shot. The camera should start back further and already be in motion when we cut to the shot. It moves in on the car as she gets out and follows her in as she storms into the house, furious and bawling. ALSO: right before this, we were to see Mike in his dining room tearing up a few photos of him and Caroline, tearing some film out of the CAMERA that was seen earlier in his bedroom, chopping them up, tossing them on the floor, and sucking them up with a vacuum. This would be done with lots of quick jump cuts.

L. Test shot of her coming in. A guitar is to sit at the bottom of steps, and she falls onto the stairs, shocked and trying to restrain her crying fit.

M. He needed to be taking a final deep breath, mustering courage, and picking up the phone to make his call to Caroline, to say all of these things to her, and is surprised by a knock at the door. I was too busy worrying about everything and getting him to work on time and forgot to have him make that simple gesture. (Also, the steadicam stuff was my first time using my new setup. Not too shabby, I thought).

And there you have it. Like I said, the audio has NOT BEEN MIXED, so it's pretty off. And I wanted to re-record the VO because we got a bad recording the first time, and some of the lines just weren't rolling out right. To give you a hint: it was sort of a cross between the softer, more contemplative pieces in There Will Be Blood by Johnny Greenwood and the main themes to A Clockwork Orange.