Rejoice Manyere AS Media

   Call Sheet by Rejoice Manyere

                                                      Shot List       We want to film our project in one shot, like the Netflix limited series Adolescence, keep this is mind as I list the various camera shots that will be shown   1. cowboy shot of the chef walking into the kitchen towards the counter  2. it follows him towards the counter but then we get a close up of the various documents scattered on the table  3. the camera moves slightly back follows his hands as he picks up his chef hat and puts it on his head  4. he then moves to the counter in the middle of the room and begins chopping vegetables violently and adds them to a salad 5. the camera pans to the left as Remi moves over to his mortar and pestle where he crushes pills  6. the camera moves around the counter and moves to a slightly lower angle t...

  Here is our first practice run through of  the first half of our film, some things we will do differently are - the chef wont drag his hand along the edge of the counter - when he reaches the cutting board, his movements will be more controlled, slightly faster, and the camera will come around to the opposite side of the bench rather than beside him all the time - camera will be steadier instead of moving back and forth around the chef - this scene will be shot from one angle the whole time, keeping both characters in frame but still excluding their faces - the transition from the two on a date and the chef will be smoother, and closer so that it doesn't reveal the rest of the room ( which isn't a restaurant) - we wont spend so long on the packing up of the table, instead we will move along to the window, where the chef watches the couple enter their car - like mentioned before, the camera shouldn't reveal the rest of the room, but instead will follow movements of the che...

  Subtle dolly (0:25) Camera moves backwards following character but moving slower than them  Shows they've entered unknown territory that's potentially dangerous Anticipating Motion (1:08) Camera behind character looking at what he's looking at - waiting for something to happen Widening The Space (2:14)  Tracking shot Low to the ground Steps to Suspense (3:45) Panning and tilting Visual Dangers (4:07) Audience sees dangers/suspense that the character doesn't  "there is no terror in the bang, only the anticipation of it" - Alfred Hitchcock Suspense audience knows what characters don't every second in agonizing Surprise sudden quick shock "the longer the audience waits for something terrible to happen, the more the tension builds" "mystery is an intellectual process, suspense is an emotional one " "tension isn't about whats happening, it's about what...

Tasks: Talia - mood board, talent, props, costumes, concept Rejoice - script, shotlist, director Gino - camera, treatment, location Judah - sound, lighting, storyboard The Chef's Kiss INT. RESTAURANT KITCHEN - NIGHT A quiet, Fluorescent and Sterile kitchen. The head chef enters alone, after putting on his chef hat, he adds finishing touches to a salad at the counter. A pizza bakes in the oven nearby. CAMERA FOLLOWS HIS HANDS AS HE PUTS ON HIS HAT THEN THEN DOWN TO THE COUNTER WHERE HE WORKS ON THE SALAD At the kitchen counter stands REMI (40s, bald, heavyset). We never see his face - only the back of his head, his strong, deliberate hands. A cutting board. A half-finished salad. And a small, suspicious pile of white crushed powder . Remi chops cheese. The knife hits the board in sharp, rhythmic taps. In the background, faint laughter. PAIGE (19) and RYDER (20) sit at the dining table, talking, joking quietly. PAIGE(laughing) You seriously think pineapple belongs on pizza? RYDER(mo...