This document contains notes from a director for improving scenes in a play. It includes over 30 notes with suggested camera angles, timing of scene transitions, possible close-up shots of characters, and notes on using alternate takes from a previous performance. Some bonus notes praise specific scenes and transitions while also noting an instance of strong language.
This document contains notes from a director for improving scenes in a play. It includes over 30 notes with suggested camera angles, timing of scene transitions, possible close-up shots of characters, and notes on using alternate takes from a previous performance. Some bonus notes praise specific scenes and transitions while also noting an instance of strong language.
This document contains notes from a director for improving scenes in a play. It includes over 30 notes with suggested camera angles, timing of scene transitions, possible close-up shots of characters, and notes on using alternate takes from a previous performance. Some bonus notes praise specific scenes and transitions while also noting an instance of strong language.
Reminder: These are suggestions. You do you. Let me
know if you have any questions!
NOTE TIME STAMP
The very first transition feels 0:44-0:45 sharp and jolty Is a closer shot of Emily talking ∼ 1:20 - 1:46 better? (after house is introduced) Switch to other camera angle as 2:45 - 2:48 soon as mother enters Zoom in scene as Ralphie is old time: 5:25 leaving room suggested time: 5:11 Switch to shot that includes old time: 10:02 emily and isaac earlier suggested time: 9:33 Wait to switch after lights fade on 11:35/36 the house? Or go directly to emily already in light → close up on emily Wider shot of the desperados ∼ 13:10 - 13:17 running away? Cut to family faster after Ralph 14:10 - 14:14 talks about the gun (there's a weird pause) Perhaps have ralph as a unseen 14:15 - 15:41 narrator during the family in the kitchen scene (the very quick snaps back-forth and wide shot feel weird) Closer shot of Emily as she talks 16:50 - 16:55 about the car & 17:02 - 17:17 Possible close shot up of Scut as ∼ 19:49 - 19:55 they enter? Cut straight to the lights as they 21:07 - 21:16 come up (skip long transition into pole scene) Get rid of transition into 23:07 - 23:35 classroom (very long) Have emily in the shot? 25:14 - 25:37 Pan camera outwards earlier (on 26:57 ‘Monday’) Close up on Emily talking about 27:23 - 27:28 wednesday and the old man’s holiday anxiety → then traintion to house with darkness is already there Transition shot faster (after tree 30:58 - 30:59 lot scene, weird pause) Close up on emily after ‘almost’ 35:23 → then transition to house as → 35:42 lights are fading up Is it possible to use the soap ∼ 37:08-09 scene from the first show? The lights cut off weirdly in the middle in this recording OKAY. SOAP FANTASY 38:04 - 39:29 → either use ALL from the first show hat appearing → or include picture falling specifically: 38:39 Currently Ralphie walks in with no hat and then suddenly has a hat and that's weird. Cut classroom transition time 41:31 - 41:53 Perhaps used the Helen and Ester 41:53 - 42:31 Jane scene from show 1? → love gay Helen but Ester Jane has no coat and that's weird. Weird camera movement as the 42:32 boys enter Cut pause between ralph talking 43:25 - 43:30 and ralphie enter spot light Switch to the side camera faster? old time: 46:22 → right as Ralph says “in all suggested time: directions” 46:21 Switch to wide shot earlier (as 48:29 soon as house lights fade) Transition back into house after 49:28 “wednesday” is odd Switch to wide shot earlier (as 52:04 soon as family exists) Traintion directly into house as 52:43 lights come up with fragile box Maybe show Ralphie writing his Anytime theme as Ralph talks? between: 57:16 (also avoid the desk coming on) - 57:32