FILMMAKING THE CITY

Written by

Sam Q. Jackson

Version 4, 02.09.2023
 ACCOMPANYING DOCUMENT

Name
Filmmaking the City

Logline
Turning the camera away from iconic London to the
problematic street of Camden Road, a lonely filmmaker
explores the effects of a globalised city and high-tech
architecture on human behaviour.

Synopsis
A dramatised account of a student from the English
countryside who moves to Camden Town to carry out a
research project with the goal of trying to accurately
document, measure and understand his new chaotic
surroundings using increasingly complex and inventive
techniques. However, after a year of experimentation, a
growing sense of confusion, and being not one step closer
to comprehending the city , the impossible task begins to
take a toll on his psychological stability and strange
events begin to occur around him. Being left with no choice
but to return home a failure and take some time off to
think, the true meaning of his work is revealed when he
musters up the courage to look back at everything he
documented that year.

NOTE: MC doesn't speak unless spoken to. Character is

mostly explored through an internal monologue and his
journal (Taxi Driver).
 2.

ON SCREEN TEXT READS 'Research Project Statement: Through

the practise of filmmaking in Camden Town, this project
attempts to document the complex layers of the city in
order to decode space and its societal context.

1 EXT. CAMDEN TOWN STATION - MORNING 1

MC arrives in Camden Town for the first time with all his
belongings in suitcases and backpacks. We flash past an
eclectic arrangement of shops and bus stops but come to
halt when we reach Sainsbury’s, MC's new home. An
architectural montage breaks down the entire building
complex through drawings, still pictures, and a stop motion
building model. (A dystopian style radio voice commentates
over the top). Cut back to MC, who uses his keys to open up
the stairwell door on the right side of Sainsbury's.

2 INT. SAINSBURYS (PRE-COOKED + READY MEAL ISLE) - 2

AFTERNOON

Jump to a few months in the future. MC grabs a stack full

of ready meals from the shelf (Hot Fuzz).

3 INT. KITCHEN - AFTERNOON 3

MC cooks a disgusting Sainsbury's ready meal for himself in

his kitchen. Cut to food bubbling in plastic container.
He's distant from what he's doing, but his movements show
he's well practiced and could do this with his eyes closed.
He walks to his dining table, places his meal down. Then
without further hesitation, he efficiently consumes the
sloppy food.

4 INT. BEDROOM - AFTERNOON 4

MC goes into Camden Road with a film cartridge in his

camera and sets up some contraptions to record, film, map,
document, etc Camden Road. (include the methods you have
used this year to document and reconfigure how you read
Camden Road as a globalised city space) (street
photography, filmmaking, hidden camera contraptions...)
This is presented in an intense montage that ends with the
next scene.

5 INT. LIVING ROOM - NIGHT 5

MC watches Werner Herzog giving filmmaking advice while

taking notes. (might appear as part of a video collage and
exist among other shots in a 'training montage') We hear
his signiture voice breaking through the score.
 3.

WERNER HERZOG
If you shoot a scene from multiple
angles for "safety" then it is
proof of your uncertainty about the
purpose of your shot.

6 EXT. CAMDEN ROAD - NIGHT 6

We see MC fitting makeshift security cameras to the sides

of buildings under the sulfur glow of street lamps at
night.

7 INT. MODIFIED BEDROOM - NIGHT 7

MC sits alone at his desk being lit by 12 cctv screens

showing live feeds of Camden Road and Sainsbury's. Fade to
black like eyelids falling asleep.

8 INT. MODIFIED BEDROOM - AFTERNOON 8

MC wakes up with intensity at his desk, harsh sunlight on *

his face (12 screens in reflection of his eyes). He checks *
his live feeds and quickly runs out of frame (we hear a *
crash, keys jangle and the door open and slam). We stick on *
the same frame but slowly zoom in on one of the 12 screens *
to see a crazy man wreaking havoc outside the entrance of *
Sainsbury's. *

9 INT. STAIRCASE - AFTERNOON 9 *

MC opens the internal door stands in the metallic stairway *

of his building with a worried look on his face. Having *
just left his flat crammed full of experimental *
contraptions with his normal desire to get to recording the *
action on Camden Road (always feeling like he will miss *
something if he's not out there documenting everything *
himself). But this time something is off, MC is overcome *
with a sense of foreboding. Sounds from the street begin to *
flood his home and echo hauntingly like he's inside a drum *
(sudden loud jump scares and bangs). He hesitates walking *
down the stairs to open the door and pops his head through *
the porthole to scout Camden Road for potential dangers. A *
world of creepy and weird creatures lay in wait below him *
(Get in a bus that stops on the Sainsbury's side of Camden *
Road and film from the top deck, at a busy time of day is *
better). He checks his watch and feels the action is about *
to begin and thus he must leave. He softly walks down the *
stairs, turns the handle to open the door and then walks *
out feeling exposed. *
 4.

10 EXT. CAMDEN ROAD (NORTH) - AFTERNOON 10 *

In a comedic attempt to fit in with the creatures, MC *

attempts to mimic their behaviour so as to not draw *
attention to himself [Shaun of the Dead]. After a moment of *
blending in, MC subtly whips out his super 8 camera and *
records the crazy things he's seeing. Pigeons in suits *
walking down the street. A 9ft tall black mass crossing the *
road. An Alien in a jumpsuit getting off the bus. But what *
MC is seeing and what is being captured on the Super 8 *
doesn't match up. *

11 EXT. CAMDEN ROAD (SOUTH) - AFTERNOON 11

Near the entrance of Sainsbury's, a crazy man in an all

white jumpsuit with bleach blonde spiky hair and dark eye
make-up (The Batman) stands beside three ladies clad in
equally garish attire. The crazy man locks eyes with MC's
camera from some distance away. MC immediately flinches and
attempts to calmly pan his camera away, he is clearly
familiar with this man. An anxious internal monologue eeks
out as if his jaw is clenched and muscles are tense (plays
over shots of his uncomfortable body language)

Cut to over the shoulder shot of MC with the crazy man out
of focus in the background. Pulling focus to the crazy man
reveals a confronting wide stance and an aggressive middle
finger pointed directly at Ray (La Haine).

Camera attempts to recreate what it feels like to observe

someone in your peripheral vision. MC tries his best to
ignore him and walk in an ever so slightly diverging path
so he can cross the road. However, A crash zoom on the
crazy man reveals he has taken a real interest in MC
(Scarecrow effect - Batman Begins), and without warning he
begins to accelerate head on at MC (head tracking camera on
gimbal)[Beau is Afraid]. MC, moving in an odd turning
circle like motion speedily walks in the opposite direction
of the crazy man, trying to make it look natural, steadily
bringing his pace up to a full sprint as he approaches the
corner of Camden St.

JUMPSUIT MAN, precision locked on MC, sees him turn the

corner. He suddenly transitions from chase on the pavement
to scaling the building, climbing up the industrial beams,
until he reaches the roof of the Sainsbury's unit where MC
lives. With clear determination and blinded by rage, he
jumps onto the suspended roof of the supermarket with a
thud and continues to storm across to the other side.

12 INT. ISLE 8 (INTERNATIONAL FOODS) - AFTERNOON 12

Cut to shoppers of the supermarket. In a state of

confusion, they look up at where the thudding footsteps are
emanating from. Dust and small debris begin to fall from
the roof.
 5.

13 EXT. CAMDEN STREET BRIDGE - AFTERNOON 13 *

MC, having turned a corner on to Camden street, continues *

running for some 50m up the road and thinks he has lost the *
crazy man. (Hitchcock build up tension - we know the crazy *
man is lurking somewhere on the roof ready to pounce). MC *
spends a moment catching his breath but before he can fully *
recover, a shady gentleman in a shiny blue leather overcoat *
and a durag requires his attention. *

DETECTIVE NANA *
Excuse me sir, do you know this *
woman? *

Holds out a black and white photograph of the most fucked *

up crazy woman you've ever seen. *

DETECTIVE NANA *
Yes (elongated), we believe she has *
stolen a number of this mans *
belongings from his home on Camden *
Road. *

Cut to super 8 montage of MC's last 3 encounters with this *

woman, each time stealing a pastry directly from his hand. *

MC *
Umm, heavy breath Yeah, I've seen *
her a few times (offish) *

While MC says this, Detective Nana's gaze becomes more *

inquisitive (eyebrow raise perhaps). A crazy wide angle. *

DETECTIVE NANA *
Hold on a moment.. *

Wider close up on MC, sweating from the running and barrage *

of personal questions. *

DETECTIVE NANA (CONT'D) *

I recognise you... *

14 INT. DETECTIVE NANA'S OFFICE - AFTERNOON 14

Flashback scene with inserts of Detective Nana looking at

the image of the woman that steals pastries, plotting her
thefts on a map of Camden Road and writing down accounts
from passers by and typing them up on a typewriter.

15 EXT. CAMDEN ROAD - DAY/NIGHT 15 *

We see him searching the streets of Camden Road day and *

night, looking for the suspect, he spots MC each time he's *
out, curious about what he's up to. When he comes home he *
spots MC out the window, rigging up a camera to the side of *
his house. MC sees he's been compromised and runs in the *
other direction. Detective Nana turns around looking *
disgruntled. *
 6.

16 EXT. CAMDEN STREET BRIDGE - AFTERNOON 16 *

Resume to real time. Match cut from disgruntled look in *

flashback scene to looking disgruntled in this scene. *
Detective Nana swiftly brings out bright chrome handcuffs *
from his belt bag. *

DETECTIVE NANA *
I'm afraid you'll be coming with us *
(saying us makes no sense on *
purpose). *

Detective Nana slaps one of MC's wrists with the handcuffs *

and attempts to restrain the other one. MC, panicked by *
this sudden threat of arrest, shoves Detective Nana and *
decides to run back in the direction he's just come from. *
However, at this very moment, blaring round is Ville Finn, *
confronting MC head on. *

VILLE FINN *
Unintelligible alien language *
(whatever he says it's very *
intense, he's trying to be friendly *
but no one understands him) *

MC feels he is left with no option but to jump into the *

canal to escape. MC clambers over the wall. *

17 INT. UNDERWATER IN REGENTS CANAL - AFTERNOON 17

We see mini-MC fall into the water followed by a 30 second

underwater scene where MC, in a delusional state, gets to
observe the topography of Regents Canal; old trolleys next
to electric Lyme bikes, huge odd looking whiskery carp next
human skeletons all covered in reeds and moss. [Brian Eno
Toilet scene in Trainspotting].

18 EXT. REGENTS CANAL WALKWAY - AFTERNOON 18 *

A peaceful scene, birds are tweeting etc, people meandering *

along the canal walkway take a subtle interest in what made *
the splash in the water. *

19 INT. SAINSBURY'S ROOF - AFTERNOON 19 *

Meanwhile, panning up to the roof of Sainsbury's, we see

JUMPSUIT MAN looking crazed in the wind. He spots some
ripples in the water where someone may have jumped in
(throw something in the canal and cut to that).
Predictably, he jumps full whack in to the canal from the
roof (We see JUMPSUIT MAN in a composited ultra-wide shot
on top of the Grimshaw Housing Units, and then a medium
shot with a background of sky. He runs forward and jumps
 7.

out of frame with his arms and legs flayed). *

20 INT. UNDERWATER IN REGENTS CANAL - AFTERNOON 20

(From an over the shoulder style shot with MC in

foreground) The crazy man falls in with speed and pierces
his stomach on a rusty bike frame, adding to the unique
composition of people and objects in the canal. Go to close
up on MC.He pauses before realising what has just happened,
at which point he proceeds to flail around and scream
underwater (Head shakes and bubbles come of his mouth) A
loud and intense score plays.

FREEZE FRAME:

Score stops.

MC (V.O.)
It was in this very moment that I
figured I was ready to take some
time away from the project.

JUMP CUT:

21 INT. THAMESLINK (CABIN A) - EVENING 21 *

MC traveling home on a Thameslink train (Hot Fuzz style *

travel scenes + soundscape of rocking train carriage). *
Soaking wet, sniffling, jaw dropped, exhausted, and *
traumatised, MC looks out the window as tall buildings *
transition into grassland and fields of wheat. He can't go *
on with his project any longer and needs time to think. *
Melancholic score begins to play when greenery appears. *

22 EXT. HOME GARDEN - MIDDAY 22

Transition to a very relaxing/healing sequence for MC, a

dissolving montage of peaceful things that indicate MC is
rested. Spending time with Family. Playing with cat.
Lounging on a hammock underneath the shade of an Indian
Bean Tree. Going on a walk in the open fields, coming to
rest by a tree. MC takes a deep breath under this tree and
decides he's ready to face his project again.

MATCH CUT:

23 INT/EXT. DAD'S OFFICE - AFTERNOON 23

MC stands outside his Dad's Office. (The tactile sounds of

materials and equipment are prominent in this scene). He
unlocks the door and walks into Dad's office where all his
footage is being stored. He spends a moment taking in the
space before sitting down and opening up a storage box and
grabbing a reel of Super 8mm film. A label on the side
reads "Camden Road - Day 1". He winds it onto the projector
and presses the play button. The room is filled with the
 8.

glow of the light leaks at the start of the film reel. MC

picks up a cassette and removes it from a handmade mixtape
case that reads "tragic ambition". He inserts it into the
player and clicks the play button. The speakers hiss and
crackle, the final score begins to play; Dedicated to You
by John Coltrane, Johnny Hartman. MC sits back in his chair
and footage of people on Camden Road appears on the wall in
front of him (the first view you get of Camden after
leaving the station). After a moment, MC is transported
back into Camden Road. He gets up and walks around after a
profound realisation. This time there is no intensity, just
a sense of belonging. MC walks towards the Sainsbury's on
Camden Road and disappears into the crowd. Fade to black on
'dedicated to you-ouu'. End Credits - Filmmaking the City /
Written, Directed and Shot by Sam Jackson.