Proj 3 Script

INT. LITTLE GIRL’S BEDROOM – DAY

The room is relatively quiet, save for a slight bustle of someone moving things around.

A bag disappears from the bed, bringing three teddy bears of various sizes, into view. They are all sitting together.

A hand is seen turning off the light.

After a moment’s pause, the bedroom door swings open slowly.

TED

(glances at three soldier teddy bears making their way in through the bedroom door)

If it isn’t Captain Paddington’s soldier bears. Come to get the stuffing knocked out of you yet again, huh?

IMALA

And that cat Felix isn’t even here to drag you in this time… Alex, Ted and I will handle this. You just hold down the fort, ok?

ALEX

Okay…

(IMALA and TED jump off the bed)

CAPTAIN PADDINGTON

You know the drill! Go! Go!

(soldier bears charge forward and divide, running in separate directions)

LIEUTENANT BECKET charges to the right. He scales a shelf, only to find that it is too far away to help him get closer to the bed.

CAPTAIN PADDINGTON comes face to face with IMALA. She uses her superior weight to block CAPTAIN PADDINGTON’S view.

IMALA

Going somewhere?

CAPTAIN PADDINGTON

As a matter of fact, yes.

IMALA tugs on a bandana hanging off the seat of a nearby chair. She then, throws the bandana at CAPTAIN PADDINGTON, covering him.

CAPTAIN PADDINGTON appears to struggle for a moment before taking off the bandana. Annoyed, CAPTAIN PADDINGTON launches himself at IMALA.

IMALA struggles under him, trying to get free, but fails in the attempt.

CAPTAIN PADDINGTON

(mutters under breath)

Would you just hold still…

IMALA

(shouts over muttering)

“Ow! Stop pulling!

(pauses, trying to get free)

Alex, help! He’s going to undo my stitches! I think my stuffing’s falling out!”

ALEX

“But you said—”

IMALA

“Never mind what I said! Just come help me!”

ALEX

(reluctantly, glances at bed)

“Okay…”

[pans across the room]

TED

(blocks LIETENANT KLINE’S way)

“That all you got?”

LIETENANT KLINE attempts to get passed, but when he fails, he dives toward a desk and begins to scale one of the legs.

TED follows LIETENANT KLINE, and runs toward another leg of the same desk. He quickly attempts to scale his desk leg.

(on the other side of the room)

ALEX has joined the fight to free IMALA from CAPTAIN PADDINGTON’S grip.

With the help of ALEX, IMALA finally gets free. Looking up, they discover that LIETENANT BECKET is climbing up the baseboard of the bed.

ALEX

Imala! Look!

ALEX points at the bed.

IMALA looks around to where ALEX is pointing.

IMALA

Alex!

ALEX

I’m on it.

ALEX grabs IMALA around the waist and throws her toward LIETENANT BECKET.

IMALA

Yaaaah!

IMALA grabs the sheets of the bed when she lands to keep from slipping down the side.

Startled with her sudden appearance, LIETENANT BECKET slips down an inch.

IMALA pulls herself up the rest of the way to the top of the bed and waves her behind in LIETENANT BECKET’S face, victoriously.

IMALA

Yeah! Take that!

(A short ways away)

TED reaches the top of the desk, only to find that LIETENANT KLINE is already across the desk surface and climbing down the cord of a nearby lamp.

LIETENANT KLINE climbs near the bottom of the cord, and begins swinging on the cord. He bumps into the nearby wall.

TED slides down the leg of the desk and runs toward the bed.

LIETENANT KLINE, now using the wall to push off of, swings close to the bed. When he gets close, he jumps off the cord of the lamp and lands on the bed.

IMALA instantly turns around to face LIETENANT KLINE.

(across the room)

CAPTAIN PADDINGTON jumps up and down, still slightly restrained by ALEX.

CAPTAIN PADDINGTON

Yeah! You go Kline! And would you look at that, Becket, you’re almost there too! Hell yeah! No more sleeping in daddy’s cramped little collection case!

IMALA

Over my fuzzless, moth-eaten remains!

LIETENANT KLINE

Just you wait! Well, finally get books read to us and attend tea parties, and get little girl hugs!

LIETENANT BECKET has finally manages to pull himself over the top of the bed.

LIETENANT BECKET

And stop looking at all those other soldier bears that her father has collected. If that Russian bear stares at me one more time…

TED appears from behind LIETENANT KLINE and wrestles him to the ground.

TED

Gotcha!

A struggle between TED and LIETENANT KLINE ensues.

IMALA jumps forward, knocking herself and LIETENANT BECKET off the top of the bed. She lands on top of him.

Suddenly, CAPTAIN PADDINGTON and ALEX look toward the door.

All struggles stop.

TED

What is it?

CAPTAIN PADDINGTON

They’re back.

IMALA, ALEX and TED all get to their feet.

IMALA

Hurry!

TED and LIETENANT KLINE quickly settle down on a flat part of the bed.

IMALA and LIETENANT BECKET scramble to sit next to the foot of the bed.

ALEX finds and empty spot next to the desk and sits down.

CAPTAIN PADDINGTON looks around just in time to see the light turn on. He falls straight on his back in the middle of the floor.

A pair of shoes walk into the room, nearly stepping on CAPTAIN PADDINGTON.

Impatiently, a pair of hands grab CAPTAIN PADDINGTON, LIETENANT KLINE, and LIETENANT BECKET, tossing them out the door of her room.

The same hands gently grab IMALA and ALEX and put them back on the bed next to TED.

A bag is set down in front of the teddy bears.

All is completely still.

Prop List for Project #3

Here's a possible prop list for the shoot

Small Rug
Crayons
Coloring book
Various dolls
Small toys
flowers
blanket
various pink acessories
fishing wire
cross wire
various military like fabrics
scarf

Possible Pitch Idea #3

Basically my idea for my pitch is about a shoes that goes through a series

of different enviroments. The shoe in turn doesn't like the change and

goes through a series of ploys to get revenge on its buyer. In the end it

back fire and the shoe realizes that it wasn't really worth it in.

2_Inspiration for Project #3

This is for the environment idea.


http://vimeo.com/5351252

1_Inspiration for Project #3

My reason for choosing this video in particular
is the fact that the shoes take on their own personalty based on the design of the shoe. So my
case, I want to do the same thing but without the stop-motion.

Superstar Review

I found it interesting how well the dialogue and the dolls interact with each other.Several times throughout the film, I kept waiting to see if the lips of the dolls would move. So in a sense what was accomplished was a idea of an illusion. I think that was director was going for because of the use of dolls instead of actual actors. The viewer felts as if they were transported into a different child like world. I thought it worked pretty well pertaining to the subject matter.

Artist Lecture #!1: Art DiFuria

Surprisingly, I found Art Difuria's lecture to be interesting. His way of lecturing did remind me a lot of Duran's style but a lot more humor in nature. I found it to be interesting how Vanhanskurt interweave a little of his perspective into his pieces. What I mean by this is that in each of his drawing he adds a difference perspective to Rome. In one drawing he takes a view of a building and changes it into a ruin which in a covered with vines,etc. In turn I wonder why exactly did he do this? Is it his own commentary on the view of Rome? In a sense he creates some form of an illusion, especially on the beginning pieces that was referred back to. Overall, I thought the lecture was interesting;.

Maya Deren: Meshes of the Afternoon

While I was viewing this films, I had to look at a little more

closely at the small clues that are presented through out

the film. My basic interpretation was that of the idea of the

mind and the unconscious. I guess you can say the Deren

was trying to accomplish a dream like idea for this film. What

prompted this idea was the scene with herself at a table, split

into threes. What immediately came to mind was the idea of the

three subconscious: ID,Ego, and Superego. I know that may

be stretching it a bit, but it has a similar idea. All of the three

versions of her selves were looking at the key which then turns into a knife.

So is it possible that the key was a way of symbolizing a entry into

her mind?

The structure of the film was interesting in a way because

the was no dialogue. So in a way it was a mystery without dialogue.

The audience has to follow her clues in order to figure out

what is going on. The most interesting portion of the film was the

cinematography. The camera moved with the actress while also

expressing the appropriate emotion. An example would be the

the scene where Maya is climbing up the stairs, while hitting the

wall. The camera moves with her in the scene so it gives an

uneasy feeling. Also what I felt throughout the films was a

feeling of claustrophobia, because we (audience) never get

a chance to see the entire space. We are also packed into

a small space.

Rehearsal Notes

Rehearsals: Rehearsal of the talent went very well. I was surprised it how well the actors fell into the roles. There weren't any difficulties in conjunction with the script. I know when it

comes the actual acting, it will go over well.

Shots/Locations:What i taught was a harder issue to tackle was the issue of imagining the space.

Although the talent generally was a success, the technicalities of how we are going

to place everything became an issue. We didn't know whether or not what angle we

be best to accommodate the space. An example would be the office scenes. Even though it's in the DA media, the angles of the tables would pose an issue once we start shooting. Also I was wonding about the color of the room and how it's going to affect the lighting. Even though the lighting of the room can be controlled the wall are very white. So in a sense that white might have an effect on how we light the individual actors. Generally, it more a on set issues that we as a group have to overcome.