SHEFFIELD HALLAM UNIVERSITY SOUND DEPARTMENT

Script Analysis
Production - 'Oh Messy Life' Scriptwriter - Jonny Harrold Sound - Rob O'Connor Director - Jonny Harrold Producer - Tom Smith Sound Assistant - N/A

The Initial Idea. Our film revolves around the regret of Thom, after ending his relationship with Emily, his girlfriend at the beginning of the film. He is going through a kind of mid-life crisis and realises that dumping Emily was a mistake. He realises his friend David isn't as he thought he was, and his life isn't leading anywhere. He attempts to get his life back on track and decide what he wants to do with himself. The film is intended to be grungy, concerning contemporary youth problems such as lack of life direction, relationship problems and depression. But with a sweet, heart-warming ending. Format Footage to be shot on Canon 5D . All sound to be recorded separately onto a Marantz 661 mostly with Sennheiser 416 + boom and TRAM radio mics. Proposal The film deals with contemporary youth issues and the sound needs to reflect the realism of the world we live in. The mood is quite depressive and the sound needs to reflect the grungy nature of the narrative. There is also room in the script for experimental visual and sonic elements, attempting to push the boundaries of mainstream romantic drama. A central element of the script is the regret Thom feels for dumping Emily, he frequently reminisces of his time with her and thinks he sees her everywhere. There needs to be a clear sound motif for these scenes so that the audience can instantly recognise that Thom is disconnected from reality in these moments. The elements of Thom's life need to be portrayed realistically, with considered atmos tracks reflecting Thom's world and mental state before and after his breakup with Emily. Thom lives a 'social' lifestyle and several scenes are set in 'party' atmospheres. The sound needs to reflect Thom's interpretation of his surroundings which at times carry potential for experimental options which allows a creative sound design. There are also Thom's personal problems which need to be considered. He is realising that his life isn't going anywhere. An element that is mirrored in a scene where he spends an afternoon with his parents. The sound for this scene reflects a more private insight to Thom's life, and will be comparatively quieter than the majority of the other scenes in the film. As this scene represents the chaotic and enjoyable element of his life fading away as he grows older. The mood of the piece is most clearly delivered to the audience through use of score. I want an alternative musical score that communicates the emotion of the piece, the film world and the emotion of the protagonist.

Examples/Proposed Ideas: Eternal Sunshine of the Spotless Mind (Gondry,2004) Sound by Eugene Gearty I have listed this due to its similarly natured narrative and the experimental style in which it is told. The plot focuses mainly on regret and revisiting memories, which are major parts of Oh Messy Life. The score guides the audiences emotion effectively throughout the piece. Beck's cover of The Korgis 'Everybody's Gotta Learn Sometime' works well for that opening and closing credits of the film as they are both on a similar emotional tone. The song I thought stood out the most was phone call by the composer for the majority of the score, Jon Brion. I think this works really well. The doubled up guitar style instruments over the slow strings creates a dreamlike feeling. I think this suits the mood of Eternal Sunshine really well but wouldn't really work for Oh Messy Life as our film is more destructive and grungy. The doubled up instruments could work really well for happy memory sequences though if I feel they need an emotional guide. We Need To Talk About Kevin (Ramsay, 2011) Sound by Paul Davies We Need to Talk About Kevin is one of the most experimental films I have seen recently in terms of sound design. There is almost always an emotional guide for the viewer/listener. This is often used in the score and through use of interesting ambient tracks or manipulated room tones that change the emotion of the visuals effectively. The sound is used mainly to create a feeling of unease in the viewer. This is a feature I intend to repeat in Oh Messy Life, effective communication of emotion through sound and not necessarily always score. I want the feelings of regret and depression to be clear in almost every scene so we can tell that the protagonist regrets his decision to dump his girlfriend, which takes place in the first scene. This use of sound can help massively in building audience empathy for the character, something I feel was lacking in our previous project, and something that wasnt delivered through visuals or editing so sound has the real power in this position. Brick (Johnson, 2005) Sound by Randy Babajtis I feel this film contains elements that have strongly influenced elements of our script. Brick has an interesting soundtrack that adds to the identity of this quirky, indie drama. Interesting sound design elements add an experimental feel to the piece, which I feel, leaves a lasting impression on the viewer. The score is used effectively throughout alongside interesting mixing choices. For example the final scene takes place on a field by a motorway, the sound of the cars are very high over the dialogue. This makes it difficult for the viewer to hear what is being said as the main narrative is summed up, as this goes on the sounds of the world almost drown out the interaction suggesting the tale of high school drug dealing and murder is unimportant in the grand scheme of things, life goes on. I also noticed a distinct lack of fades in this film which I think adds to the hardboiled, grungy, stylistic identity almost similar to our film. When a sound effect or new atmos is added it is almost always brought straight in without use of a fade. Props are used effectively throughout with sound close to the narrative in many scenes. In one a boy plays with a whistle over dialogue, in another Brendan removes his shoes so he can sneak up on someone chasing him with his shoes loudly slapping the floor. In the standoff scene a fight and death is heard from the floor below, an effective example of starving the eye and bringing the ear and imagination into play. (Thom, 1999)

Twin Peaks (TV Series, Lynch, 1990) David Lynch uses music effectively throughout Twin Peaks. He has stated that when Angelo Badalmenti composed 'The Love Theme' Lynch stated "You just wrote 75 percent of the score, it's the mood of the whole piece. It is Twin Peaks" (Givens, 1990). This score works well and is included in almost every episode. Throughout other episodes the scores are repeated, each track ticking the box of an emotional mood so that it almost becomes a motif for that emotion. This association between emotion and music is something that I look to imitate with a musical motif for Thom's memories of Emily. The Beachcombers (Croucher & Beynon, 2008) http://www.youtube.com/watch?v=4L_wgw0cr2I This film is kind of the opposite mood for what our film is driving for, but I think the use of music is really effective and subtly done. There is also an example of subtraction where sync sound is removed in favour of the score. This is an aspect I will be looking to utilise in our project.

- SCRIPT ANALYSIS TO FOLLOW BELOW -

SHEFFIELD HALLAM UNIVERSITY - SOUND

Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 1 Interior, bedroom, day. Radio, potential for happy/cutesy pop song playing in background. Thom and Emily. Lying on the bed. Sennheiser 416 w. boom. TRAM Radio mics for backup. Sound List Ext. traffic sound. Possibility of radio. Movement of bedclothes, creak of bed frame. Spark of lighter. Exhaling smoke, birdsong. Ideas Page 1 of 23

A couple are lying in bed, side by side. EMILY (27), in just her underwear, her long brown hair sprawled across the white sheets. THOM (29), also in his underwear. Clean shaven. With the window open the sun floods the room. The sound of birds singing and cars passing can be heard outside. A large map covers the wall behind the headboard, with red string pinned to it. A book about travel and an ashtray lays on his bedside table. On hers, another ashtray and a lamp. Thom lights a cigarette, Emily leans in to light hers off the flame. After a few drags she places it on an ashtray, rolls over and leans in to kiss Thom. She cuddles into him, but he doesnt make much movement, cigarette still in hand. Getting minimal response, she returns to her original position, once again with the cigarette in her hand, taking another drag. THOM I think we should break up.

This opening scene creates a false mood for the film. The cute song playing on the radio and closeness of the actors suggests a soppy, cute love story. This mood collapses as the first line of dialogue is spoken. The memory motif could be used toward the end of the scene to form a transition and suggest the passage of time before the next scene which takes place in the same location. A heavily distorted guitar wails shattering the mood after the line of dialogue which can also be used over a credits sequence. This scene shows the action Thom regrets for the rest of the film, breaking up with Emily. This scene appears happy and hopeful as an opening to the film. The score idea I gave to the composer to mimic for the song used over the transition was 'Little Fury Things' By 'Dinosaur Jr'. This scene continues into an argument which isnt shown now but will be flashed back to a certain points in the film. For these flashbacks I would like there to be no sound, leaving the memory motif for happy memories during pangs of regret.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 2 Interior, Bedroom, Day Phone Thom, alone lying in bed Sennheiser 416 w. boom. Radio mics for backup. Sound List Traffic. Bedclothes moving. Phone ringing. memory motif. Ideas Page 2 of 23

Thom lays in bed alone with his book on his chest. He is unshaven with messy hair. His room is messy and the bed sheets are scruffy. The string on the map has started to come unpinned and dangles down. A birthday card stands up on his bedside table with the number 30 on the front. His phone starts ringing, waking him up. He ignores it and rolls over, putting his head under the cover. He imagines Emily in the bed next to him. The phone stops ringing for a few seconds but soon starts again. He sighs and rolls over to pick it up. THOM Hey Dave... Tonight? Sure. Im at work till nine. Shit, whats the time?

Thom's life has changed since the last scene. He is distinctly more depressed. The atmos track in this scene is intended to contrast to the previous scene that began happily. The traffic could be more intrusive, the sound of birds has gone. His room is a mess, electricity buzzes through an electric amplifier. The memory motif returns as Thom imagines Emily in bed beside him. The sound motif is intended to be comprised of the slowed and reversed sound of a tuning fork being struck, a swirling wind, and clothes flapping. The phone will be added in in post-production so that the signal going through the phone doesn't interfere with the recording equipment. The sound of a phone ringing is closely related to vibrating sound, however a loud intrusive ringtone could work nicely. This will sharply interrupt the memory motif as Thom returns to reality. The sound of bedclothes rustling and the bed creaking can be added through use of foley. The bed would creak a lot less than before with only one person in it. This reflects the loneliness of Thom without Emily. This could be further exaggerated with a reflective reverb when the phone starts ringing.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 3 Interior, Thom's Work, Day Thom is stacking a shelf at work. Thom, alone, stacking a shelf. Sennheiser 416 w. boom, TRAM Radio Mics for backup Sound List People in shop, big open factory shop echo, music playing Squeak of shoes on shop floor. Non diagetic background music. Memory motif. Ideas Page 3 of 23

INT. SHOP - DAY Thom is stacking shelves in a supermarket, wearing a uniform, bored.

Thom is bored at work, I would like an intensely boring and repetitive song to be being played on the store speaker system, if the song works well for a romantic scene this would be perfect. B&Q have allowed us to film in store so there will be a lot of echo in such a large shop. If an appropriate song can be found prior to shooting it would be good to get a chance to worldize the sound by asking that the song be played through the speaker system. The potential isle we have chosen for Thom's shelf to be on is full of kitchen cupboard doors. The sound of Thom sliding these onto the shelf will be heard. The squeak of his work shoes as he moves. The memory motif builds up using the sound of the cardboard packaging as an introduction for the sound of the swirling wind in the memory motif.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 4 Exterior, Thom's memory, In a field. Fire, Fireworks, Cigarette Lighter Thom, Emily and a couple of extras. Sennheiser 416 w. boom. TRAM radio mics for backup. Sound List Exterior sound, night in the park, a bit of sound from the previous scene lighter, firework fire Ideas Page 4 of 23

INT. FIELD - NIGHT (MEMORY) Emily and Thom are sitting in a field with friends. They are kept lit by a small fire. Emily lights her cigarette and Thom leans in to light his off the flame. The friends are letting off Chinese lanterns. They all look up at them in awe. A firework goes off and all the girls scream. Emily grabs Thom tight. A second firework goes off. CUT BACK TO SOUND TRANSITION: FIREWORK BANG/ OBJECTS HITTING FLOOR

This is a memory sequence, I would like to be able to let some of the sound from the previous scene bleed into the mix throughout this scene as Thom is visiting this in his head. This is why a romantic sounding song could make this scene stronger. I have been pressing to get an element written into the script that sparks the memory, if the diagetic music being played at work is synced to match the moment Thom and Emily share the lighter could work really nicely. The sound of the fire will be quite high in the mix with the memory motif playing at the beginning and end of the scene. Wild tracks of the girls screaming reaction is really important in this scene, if this isn't recorded or performed well on set this sound will be difficult to recreate.

SHEFFIELD HALLAM UNIVERSITY - SOUND

Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 5 Thom is stacking a shelf at work. Thom, alone, stacking a shelf. Sennheiser 416 w. boom, TRAM Radio Mics for backup Sound List People in shop, big open factory shop echo, music playing Squeak of shoes on shop floor. Non diagetic background music. Memory motif. Ideas Page 5 of 23

SOUND TRANSITION: FIREWORK BANG/ OBJECTS HITTING FLOOR INT. SHOP - DAY Thom has over stocked a shelf and things start falling off. This snaps out of his day dream. He tries to catch them but makes things worse, dropping even more.

Thom sharply returns to reality as the sound of cupboards fall from the shelf he has been stacking. Elements of the memory scene echo out of his head. The sound of the cupboards falling from the shelf could replace the sound of the fireworks after the first one. Or the sound of the fireworks could replace the sound of the cupboard hitting the floor.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 6 Exterior, Beer Garden, night beer glasses, shot glasses Thom, David, Girls, Extras Sennheiser 416 w. boom. TRAM Radio mics on Thom and David for backup. Sound List Other people talking in the beer garden. Traffic, canal. Glasses movement, drinking noises Girls being loud, Memory motif Ideas Page 6 of 23

EXT. BEER GARDEN - NIGHT Thom sits in a crowded beer garden with a glass of beer to his lips, distracted, thinking hes just seen Emily in the crowd. His friend DAVID (29) comes over and nudges him, a pint in each hand. DAVID Still no Emily? THOM No. DAVID(smiling) Good. THOM What? DAVID(laughing) Well thats why were here isnt it? David looks over to a group of girls, scantily clad in pink tutus and tiaras. He nudges Thom and raises his eyebrows in a mischievous manner. They join the girls and play drinking games.

The memory motif fades in when Thom thinks he sees Emily but this only lasts for a second. The beer garden shouls be quiet, allowing the sounds of the crowd to be added later. The group of girls are intended to be the opposite of Emily and be loud, rowdy and giggly. A hen night sort of feel. The sound of the girls laughing is an important sound for the background of Thom and David's conversation. The pub is set in an urban environment so traffic noise is always going to be heard in exterior scenes, hopefully I can limit this as much as possible with close miking and have the tracks from the radio mics as a backup. The sound of glasses moving/being put down on the table can be added in post. It would be nice to get a chant or the bang of glasses being put roughly back on the table for the drinking game to echo out into the next scene.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 7 Interior, front room, night Sticky floor, bottles all over the floor, Thom, David and girls Sennheiser 416 w. boom. TRAM Radio Mics for backup. Sound List Quiet urban street, distortion from loud speakers but no ipod connected. Footsteps on sticky floor Cheesy pop song. Ideas Page 7 of 23

INT. GIRLS FRONT ROOM - NIGHT A plain front room. Coffee table covered with Lambrini bottles, empty balloons and other evidence of partying. Spilt drinks make a sticky mucky surface. 2 of the girls are lying on sofas opposite each other, singing along to a cheesy pop song, one of them smoking a joint. Thom is in the background by the door with one of the girls, getting quite close. They leave the room. Dave sits on an uncomfortable looking seat, a DVD case balancing on his knees, credit card in hand. He is sporting one of the girl's tiaras. He snorts a line of whatever and reels back in pain. The girl passes him the joint. He accepts it, puts it in his mouth, stands up and walks over to the other sofa to lie down next to one of the girls, singing along to the song the whole time.

I want this scene to have a drunk, depressing, 'end of the night come down' feel. The script calls for a cheesy pop song to be playing which David can sing along to. If I can find an appropriate copyright free song with lyrics that would be excellent, but I think this scene would work just as well without it. I think that the sound of speakers not connected to any mp3 device is quite depressing and something that is certainly left on in my house when people have been on a night out. The sound of David being loud and taking drugs is an important part of this scene as I want it to continue into the next scene, therefore it needs to be clearly established in this scene.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 8 Interior, Girl's bedroom, night Tying shoes Thom, Girl Sennheiser 416 w. boom, TRAM radio mics for backup. Sound List Quiet urban night time, little bit of traffic. Footsteps, movement of bedclothes Sounds from David downstairs, Ideas Page 8 of 23

INT. GIRLS ROOM - NIGHT Thom sits at the end of a girls bed. She lays with the sheet covering her. There is an obvious awkwardness in the room. The glow from a street lamp and passing cars shine through the gaps in the blinds, giving the room an off colour. The sound of the others can be heard through the wall. Neither of them say anything as he ties his shoes. She fiddles with the corner of her quilt. He stands up and grabs his coat off the back of the door.

I want this scene to be really quiet and awkward between the two of them as Thom almost has sex with the girl. The sound of cars outside can be heard faintly. Every now and again we hear an outburst from David, or the sound of him snorting drugs. The intention of this scene is to show that Thom and Dave aren't very similar people. This is made quite clear through use of juxtaposition, the quietness of Thom with the girl in the bedroom compared to David's loutish shouts from downstairs. The room is so quiet we can hear the friction of Thom's laces as he ties them. David's behaviour; laughing loudly, snorting drugs, shouting, shouting to Thom "Come on my son", "Do her in the arse" etc. This reinforces the differences between Thom and David and portrays him as a bad influence.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 9 Exterior, Street, night Cigarette Thom walking alone in the street Sennheiser 416 w. boom Sound List traffic Footsteps (if needed) exhaling smoke Ideas Page 9 of 23

EXT. STREET - NIGHT Down a dark street, smoking a cigarette, Thom tries calling someone. The smoke from his mouth is thickened in the cold air.

The sound of cars in the distance in this brief quiet scene. The call tone of Thom's phone ringing someone, possibly Emily's answerphone message.

Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 10 Interior and Exterior, Thom outside, Emily inside, night Music in Emily's room, Emily's phone Thom and Emily, Thom outside, Emily shouting out of her window. Sennheiser 416 w. boom, different take for each perspective, TRAM Radio Mics on both for backup. Sound List Cars driving by, music in Emily's room Phone ringing, Thom throwing rocks at the window creaking of bed, different sound perspectives Ideas

INT. EMILYS ROOM - NIGHT A phone is vibrating on the floor of a messy bedroom. Emily lays in her bed, upside down, no pillow, smoking a cigarette. She picks the phone up and the light from the screen lights her face. She ignores the phone as it stops buzzing. A few seconds of silence pass. She hears a tap on the window, above the head of her bed. She sits up. Another object taps the window. She climbs to the head of her bed, opens it and looks out to see Thom standing in her front garden. EMILY(shouting) What the fuck Thom? THOM(shouting, slurring)

Hey Em! EMILY What are you doing here? THOM I need to talk to you. She shakes her head and turns around back into the room. She hears him shouting from outside. THOM No, wait. She hesitates for a second before turning back around and sticking her head back out of the window. EMILY Thom, you need to go home. Youre embarrassing yourself. THOM Wont you just come down? EMILY I dont want to talk to you. She shuts the window and sits down on her bed with a sad expression. Thom rubs his face with the palms of his hands.

The sound in this scene will vary from the different perspectives, some lines will be delivered from Emily's POV and some will be shot from outside. As the camera angle changes so will the perspective, this scene will need to be recorded multiple times to be able to get all of the perspectives. Cars will be heard as the atmos track for when the camera is outside with Thom, and Emily's music will be heard for the lines delivered from her perspective. I like the idea of Emily having a small dog in the house that continues to bark in the background of the scene. The fact that neither character acknowledges it suggests that they do want to talk and don't really care about the noise they are causing. The exterior sounds will be sharply cut off when Emily closes her window.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 11 Interior, Thom's bedroom, day Radio Thom lying on his bed Sennheiser 416 w. boom Sound List Traffic outside, buzz of amplifier Bed/book movement Memory motif Ideas Page 11 of 23

INT. THOMS BEDROOM - DAY Thom wakes up in his bed alone his book lays open, face down on his bare chest. He looks over to the empty side of the bed and imagines her there.

This scene has little action, is mainly comprised of Thom waking up. He imagines Emily in bed with him and the memory motif fades in. Traffic can be heard through the window.

Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 12 Interior, Thom's parents' house, day Would like a lot of clocks present in the scene, TV Thom, Paul, Sue. Sat in the front room Sennheiser 416 w. boom, Radio mics on Thom and Sue. Sound List Lots of clocks ticking, quiet room tone. Making tea, sipping noises, TV sound. Ideas

INT. PARENTS HOUSE - DAY Thom looks into an old fashioned front room. Two arm chairs, a rug, fireplace and a TV. His father, Paul (60) sits in one of the chairs, flicking through the teletext channels. THOM Hi Dad. His eyes dont stray from the TV. PAUL I suppose your mothers getting the brews on. Two sugars. A frail but stern voice comes from behind Thom. SUE Ive already made your fucking tea you lazy git.

He moves out of the doorway to let his mother, SUE (57), through. Paul ignores her as she comes in with a tray of teacups. SUE So how are you lovely? Excited for your birthday? PAUL Youre catching up with us. Paul laughs into his tea. Sue whacks him on the arm. SUE Hows Emily? Thom takes the tea bag out of his tea, puts two sugars in and stirs. THOM Er...(interrupted) SUE You know me and your Dad were happily married by the time we were20! PAUL Now look at us! Sue slaps him on the arm again. Thom leans against the wall with his cup of tea held close to his lips, their argument becomes background noise.

The kettle can be heard from the living room as Sue makes the tea. The sound from the TV is a bit of a problem, although the teletext channels can be seen on screen the sound of the TV would still be playing. I will look for some copyright free sound I can put on for the TV. I was thinking along the lines of something really boring. Daytime TV talk shows or snooker. While at home over christmas I listened carefully to the sound of my partents living room to inform this scene. When listening I noticed I could hear what sounded like about 8 clocks ticking although I could only find two. I think this would make a good atmos for this scene as it also relates to Thom feeling old, time slipping away.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 13 Exterior, beer garden, night Beer glasses, lighter Thom and Dave, sat around a table Sennheiser 416 w. boom and Radio mics on both for backup Sound List People talking and drinking in the beer garden Drinking, glasses being put down Glasses chinking Ideas Page 13 of 23

EXT. BEER GARDEN - NIGHT Thom holds a pint glass to his lips, drinking his beer with haste. David stands opposite, drinking his faster. DAVID I win. THOM I didnt realise we were racing. David picks up a second pint. DAVID Happy birthday Thom, you miserable git. THOM Its not my birthday yet. They cheers. MONTAGE They do shots, play drinking games, Dave pukes down an alley.

The sound of the busy beer garden can be heard. The sound of Thom drinking his beer will be quite high in the mix. The drinking games will blur multiple tracks over each other, possibly adding a slight bit of delay as they get drunk.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 14 Exterior, Warehouse, night Fence Thom and Dave Sennheiser 416 w. boom, TRAM Radio mics on both for backup Sound List Traffic nearby Fence shaking Grunts, mumbling, climbing Ideas Page 14 of 23

EXT. WAREHOUSE - NIGHT Thom is giving Dave a leg up over the fence to an old derelict warehouse. He is struggling to hold his weight. Ashe lifts his friend, he looks around to check no one is watching. One last push and Dave is up.

On a quiet side street, traffic nearby can still be heard. The characters are drunk at this point so the sound could be distorted slightly as they climb over the fence. The memory motif begins as David is climbing over the fence.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 15 Exterior, Warehouse, night, Memory Fence, phone, detritus in the warehouse Thom and Emily Sennheiser 416 w. boom, TRAM Radio mics on both for backup Sound List Traffic nearby Footsteps, climbing fence Memory motif, running around, kicking things Ideas Page 15 of 23

INT. WAREHOUSE - NIGHT (MEMORY) Emily dangles her legs down, holding on to the top of the fence. She drops to the ground. Slightly winded from the impact, she coughs. After regaining her breath she stands up fully and looks around. Her breath is visible in the cold air. Thom comes over the fence, drops and joins her. Emily lights the way with the flash on her camera phone. THOM What do you think? EMILY(smiling) This is cool. MONTAGE They kiss and start walking into the abyss of the warehouse. They smash windows, climb the ruins, smoke and run around like friends. They kiss passionately in amongst the wreckage of a dark room. He chases her through the building. She runs up a set of stairs and he follows.

The memory motif can be heard throughout this scene, building more into a score piece as the couple run around the warehouse in the montage scenes. There will be a lot of reverb from the empty warehouse and there is room for effects to be added as the couple frolic in the abandoned warehouse. Alternatively the sync sound could be removed in favour of the score.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 16 Exterior, Warehouse Night lighter, joint, Thom and Dave stood on the roof of the warehouse Sennheiser 416 w. boom, TRAM Radio mics on both for backup Sound List traffic in distance lighter sound, inhaling David pissing off the roof Ideas Page 16 of 23

EXT. WAREHOUSE - NIGHT Thom comes running up the stairs to find Dave urinating off the roof. Dave looks round at him. DAVE Are you watching me piss? THOM Shut up. Thom sits down on the roof, Dave soon joins him, pulling a pre roll from his coat pocket. He rummages for a lighter, Thom gets his out and sparks the end of the joint for him. DAVE Ta babes. Thom smirks. DAVE So how did you find this place? THOM Ive just been here before. Thom is still holding the lighter, ignoring the view from the roof, and avoiding eye contact with Dave. He fiddles with it, igniting it then blowing it out while Dave looks around and smokes. Dave starts to cough. THOM Do you wanna dip? DAVE(between coughs) Hang on a bit. He passes Thom the joint, he takes a drag. THOM I need to do something on the way. DAVE Oh right. Dont forget to pick some flowers on the way you bender. He shakes his head. Thom stands up.

The sound of David urinating ends the memory sequence abruptly. The sound of the lighter is the loudest sound, an uncomfortably quiet scene otherwise. A train passes by the warehouse.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 17 Interior Emily's Room, Night Radio in Emily's Room Thom and Emily Same as previous scene at Emily's house. Sound List Gentle traffic stones hitting window, movement on bed stones hitting window? Ideas Page 17 of 23

INT. EMILYS ROOM - NIGHT Emily is laying in her bed when a stone hits her window again. She gets up and opens it. Thom stands in her front garden with a bunch of flowers, obviously picked from somewhere on the way round. She cant help but laugh at his pathetic attempts. THOM Emily, come down for a cigarette.

Emily is listening to music in her room again, the tap of the rock on the window is quiet in the mix. Thom's voice from outside the window echos in the quiet street.

SHEFFIELD HALLAM UNIVERSITY - SOUND

Production Page 17 of 23

Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 18 Exterior, Emily's front door, night cigarette lighter, cigarettes Thom and Emily Sennheiser 416 w. boom. TRAM Radio Mics on both for backup Sound List Traffic Lighter Spark, creasing rizla paper, cigarette lighter Ideas

EXT. EMILYS HOUSE - NIGHT Thom and Emily stand at her front door. Thom is a little bit drunk. He attempts to roll a cigarette. Emily tucks her hair behind her ears and licks her lips. EMILY Enjoying your birthday celebrations then? THOM It's not my birthday yet. EMILY Why did you come here. THOM Just wanted to see you. A couple of tears fall down her cheeks, but she holds back. EMILY Im still angry at you. THOM Thats fair enough. Thom finally gives up on his failed attempt of rolling. Emily pulls a pack of cigarettes from her dressing gown pocket, offers one to Thom. She lights hers then hands the lighter to Thom. THOM Are you going to be at Joes party tomorrow night? He looks back up at her. She sighs. EMILY I might. Are you? THOM Yeah. How lame is that, someone else's party on my birthday. They stand in silence while they smoke. THOM Well I guess I should go. He bends down to pick up the flowers and hands them to her. THOM Im really sorry Em. She continues smoking her fag as he leaves.

This scene is intended to be very quiet as Thom struggles to think what to say. The sound of the rizla paper Thom is rolling with punctuates the scene. The use of a turbo flame lighter could work for this scene as they roar with an aggressive flame as Emily is wounded and angry at Thom for ending their relationship. The sound of a quiet road as atmos, there are no distractions to their conversation as Thom is thinking of what he can say.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 19 Interior Thom's Bedroom, day Radio, Thom and Dave lying in bed Sennheiser 416 w. boom, TRAM Radio mics on both for backup Sound List Amplifier buzz, traffic bed movements, memory motif Ideas Page 19 of 23

INT. THOMS BEDROOM - DAY Thom wakes up next to David, in Emilys place. The word bender is written across Thoms forehead. They dont say anything to each other as they get up.

As two bodies can be seen in the bed, the memory motif begins but ends abruptly as we realise it is David in bed with Thom. Score could kick in here to continue over the next few scenes. Something bassy and depressing.

Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 20 Exterior, street, day N/A Thom walking in the street Sennheiser 416 w. boom and TRAM Radio Mic for backup Sound List Traffic atmos, footsteps, cloth potential for score Ideas

EXT. STREET - DAY Thom walks to work, but when he gets outside he decides to keep walking.

This is a turning point in the film, Thom has realised he needs to give his life direction and decides not to go to work. A very brief scene that could work with some music over the top.

SHEFFIELD HALLAM UNIVERSITY - SOUND

Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 21 Exterior street by travel agents, day N/A Thom walking in the street Sennheiser 416 w. boom and TRAM Radio Mic for backup Sound List Traffic/interior room tone with some traffic footsteps/typing, phone ringing Ideas Page 20 of 23

EXT. TRAVEL AGENTS - DAY He continues walking down the street, and stops when he sees a travel agents. He looks at the advertisements in the windows for a moment before entering the shop.

Depending on how this scene is shot it could go two ways. The travel agents we are using is on Division Street which is very busy for both cars and pedestrians. Therefore I have suggested we shoot from inside looking out at Thom. This allows a slightly more interesting sonic space. This scene is also very short and so would work well with the music playing over the top.

Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 22 Interior Thom's bedroom, day Radio Thom, pinning a route on his map Sennheiser 416 w. boom and TRAM Radio Mic for backup Sound List Traffic outside, footsteps, sound of pins on wall. birdsong Ideas

INT. BEDROOM - DAY Thom stands on his bed and repins the string back up on the map, adding an extra piece.

This scene is intended to be once Thom has started to sort his life out a bit, the atmos track for his room reflects this and is almost as upbeat as it was in the first scene. This would be the end of the song, a slow fade out as Thom pins his route on the map.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 23 Interior, House Party, Night Big speakers, lots of drinks, Thom, David, Lots of extras Sennheiser 416 w. boom, TRAM Radio mics on both Thom and David Sound List Loud dance music Baloons filling with gas, shouting, screaming Party music, sirens, fireworks, explosions Ideas Page 21 of 23

INT. PARTY - NIGHT Loud music plays and coloured strobe lights flicker. David and Thom talk in the crowd. The noise of the party makes their conversation inaudible. He looks for Emily in the crowd but cant see her. Disheartened he retreats to the garden.

I have collaborated with a DJ for the music for this scene, if it is available before the shooting date it would be good to be able to worldize it using the speakers in the film. Thom and David's conversation is shouted but can barely be heard. Something along the lines of "This is shit!", "What!?" repeatedly. We are shooting some sections of this scene in the CADS warehouse as Thom is disorientated looking for Emily. There is scope to distort the music and add some different effects as Thom endures the party. The party is intended to sound chaotic and so lots of different elements will be blended over each other to create a distorted and confusing sound sequence.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 24 Exterior back garden, outside party, night Lighter, chinese lanterns, fire, How many, how they interact which affects the mic set up Sennheiser 416 w. boom, TRAM Radio mics on both for backup Sound List Party music from inside lighter, cloth lighter, fire Ideas Page 22 of 23

EXT. BACK GARDEN - NIGHT He sits down on a garden table, facing a landscape of city lights. People are in the garden letting off Chinese lanterns. He starts to role a cigarette. EMILY Hey Thom. He spins his head round to see Emily standing there. He smiles. She climbs up on the table to sit next to him. She pulls out a cigarette. Silence lingers for a few seconds before being broken by Thom sparking his lighter. Emily leans in to light hers. She lays down across the table, he lays next to her, his head against her shoulder, looking up at the lanterns floating through the sky. They lay silently smoking their cigarettes, nothing but the muffled sound of the party .Emily sits up and flicks her cigarette. Thom shortly follows. EMILY Lets get out of here. THOM Where would we go? EMILY Do you really care? THOM(smiling) No. OK. Im sorry. Lets go.

The sound of the party can be heard intruding the scene outside. This scene is intended to mirror the first memory sequence. Memory motif fades in for a second until Emily speaks. The lighter is one of the highest sounds in the mix as they share it to light their cigarettes, like they did when they were a couple.

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Production Script Audio Breakdown Details Scene no Location details Art Direction Characters Mic set-up Atmos Foley FX 25 Interior car night car radio Thom and Emily Sennheiser 416. TRAM Radio Mics on both Sound List Quiet traffic picking up/putting down books Music on the radio Ideas Page 23 of 23

INT. CAR - NIGHT Thom drives through the dark night, passing the lights ofhouses and shops. Music plays on the stereo and Emily mimes along to the words of the song. She spots some brochures for traveling on the dashboard. She looks at Thom and smiles. Putting them back down, she notices the clock says 12.04am. EMILY Hey Thom. THOM what? EMILY Happy birthday. They sit in their seats smiling as the world goes past the windows.

The sound of the car engine behind the music. The music is quite low in the mix, the travel brochures can be heard being placed on the car dashboard. The music continues throughout the end of the scene and into the credits.