Life is Hard Full Directors Treatment

1

Life is hard. Episode Title: ―Typical‖ [1#1] According to Life is Hard Draft 5

TV Series Pilot Treatment

By Rowen Smith

2

Abstract. A mysterious incident lands our hero in court ordered Anger Management. Armed with sarcasm and an extreme lack of self-awareness Sophie navigates her way through this third world wilderness, as she reveals what has brought her to this point. First stop: Home Affairs.

3

Table of Contents Part 1: Interpreting the Narrative for Audience Entertainment            

1.1.1 Film‘s Message & Purpose……………………………………………...4 1.1.2 Overarching Conceptual Relevance…………………………………......5-7 1.1.3 Overarching Emotional Relevance………………………………………8-9 1.1.5 Subculture and Environment………………………………………….....10 1.2.1 ETB: General, Conceptual and Emotional relevance……………...........11-15 1.3.1 Central Event Problem: Scene-by-scene Breakdown……………….......16 1.4.1 Central Character Problem: Scene-scene breakdown…………………..17 1.4.2 Character Goals…………………………………………………………18 1.4.3. Character Obstacles……………………………………………………19 1.4.4 Goal attainment Strategies……………………………………………...20 1.5.1 Fulfilment: Events and characters ……………………………………..21 1.5.2 Resolution and Resonance ……………………………………………..22

Part 2: Translating the Narrative into the Medium of Delivery        

2.1.1 Genre…………………………………………………………………...23-26 2.1.2 Translation Style ………………………………………………………27-30 2.2.1 Floor Plans & Ground Plans(Annexure D) 2.2.2 Staging………………………………………………………………….31-33 2.3 Shot list…………………………………………………………………..34-38 2.3 Storyboard – Digital format : Annexure A (CD) 2.4 Visual Breakdown: Production Design…………………………………..39-41 2.4 Acoustic Breakdown: Sound Design and Music………………………...39-41

Part 3: Dramatic Atmosphere, PD, CMS, Cast, Marked-up Script     

3.1 Visual & Narrative Requirements of the Cast…………………………….42-44 3.2 Dramatic Atmosphere……………………………………………………...45 3.3 PD and CMS requirements…………………………………………………46 3.4 Action Requirements……………………………………………………….47 3.5 Shooting Requirements…………………………………………………….47

Part 4 : Dynamic Force of the Narrative Code    

4.1 Prose Writing……………………………………………………………….48 4.3 Methodologies of acting styles……………………………………………...49-51 4.5.1 Value change of 3 crucial scenes ……………….………………………..52 Bibliography…………………………………………………………………….53

  

Annexure A: Storyboard CD Annexure B: Marked-up Script [ Component 4 ] Annexure C: Floor plans and Ground Plans

4

Film‘s Message & Purpose

With this TV series Pilot. I want to prove to the potential production company that the narrative is both authentic, original and creative. I want to prove that there is enough character growing potential and event narrative potential to make this TV series profitable. I want to give the audience a very entertaining Mockumentary-style TV-drama, that they can relate to. I want them to enjoy the TV series and the funny and complex characters in it. This TV series can draw the family to the couch once every week and they can escape from their daily hardships.

5

Overarching Conceptual Relevance

Maslow’s Hierarchy of Needs (LYNCH, Art, 2011)

.

“Life is hard” falls under 2 of the 5 categories from Maslow‘s Hierarchy of Needs. (LYNCH, Art, 2011). The first category is Esteem Needs and second is Belonging/Social Needs.

Esteem Needs Sophie‘s violent procedures are a form of survival that develops into a divine duty, a responsibility and can therefore be viewed as productive. One might argue that this ‗productiveness‘ is merely true from Sophie‘s perspective as she feels that she rebels for the sake of everyone. Sophie is engaged in the struggle for ―authenticity and identity in a social field‖ (Iocco 2007:47). Sophie is indirectly and directly struggling with her self-esteem. That‘s why she goes to regular psychiatrist appointments. In scene 2 at Home Affairs, this is made clear. Her central character problem is exposed. Sophie is an idealist in a world that she believes consists of banal mediocrity that lacks the patience or place for a person of heroic ambitions and pure ideals such as herself. Through her therapy sessions she explores her desperate search for authenticity in a world which makes it increasingly difficult.

Belonging/Social Needs The catalyst for action in the narrative is derived from the youthful anguish and frustration of the protagonist in a society that has disenfranchised her politically as well as culturally. Thus, Sophie has an internal need for belonging and acceptance. Sophie is the anti-hero and her angry behavior seems to stem from a sense of alienation from society and from the self. Although Sophie is an extremist, she is nonetheless a product of her socio-political condition, yet the narrative is not immersed with societal concerns or solutions, they are merely apprehended by the protagonist, they do not form the action. Sophie is both a product and a contribution of and to a defective system, and she intends to defy it as her passive pleas turn to ‗liberating‘ acts of anger.

6

Binary Codes The binary codes that relate to the central event problem and conceptual relevance are:

1. Constructive vs. Destructive

This binary holds the plot together. In scene 1, Sophie is at the Psychiatrist. This scene intercuts with scene 2, where Sophie is at Home Affairs trying to re-apply for her driver‘s license. In the Psychiatrist‘s consultation room, Sophie‘s paranoia and frustration is intensified through the effective use of sound design, where the fish tank is annoying Sophie extremely and causes her to have a slight fit of rage. This activates the binary as Sophie wants to learn how to reconstruct and manage her anger. Throughout the narrative, we realise that Sophie is not really being constructive. She becomes more and more destructive at Home Affairs, which is the perfect place to have a fit of rage. This is specifically relevant to the public sector of South Africa.

2. Submission vs. Resistance The second binary strengthens Sophie‘s perspective of the public sector of South Africa. Everyone who has ever gone to Home Affairs in South Africa have experienced frustration and impatience with their pathetic service. This binary is activated visually trough establishing Home Affairs with a montage; 1. 2. 3. 4.

Hawkers selling perfectly packed bananas and chips outside Home Affairs Clerks in their cell phones, not helping customers Filthy Home Affairs office walls. Long queues.

Sophie‘s has problems managing her anger in Home Affairs. Her frustrating situation causes her to burst out with anger, This fulfilled the binary as Sophie cannot resist her feelings of anger.

7

Conceptual Relevance The conceptually relevant theme that underlines the narrative:

Psyche: Sophie is dealing with an inner conflict within her. This makes the narrative a plot of the mind and thus the conceptually relevant theme is Psyche. (TOBIAS, Ronald B., 1993) This theme is can be identified in the narrative as it is perceived by Sophies point of view only. Everything revolves around Sophie‘s displeased perspective of Home Affairs and how she tries to deal with it at the Psychiatrist.

Central Event Problem & Conceptual relevance to Target Market The relate-ability of the narrative stems from the audience being able to recognise themselves and their environment in the series. They are permitted to vicariously ‗freak out‘ through a character who is uninhibited by social constraints. Home Affairs has been the butt of many a South African punch line and through Sophie‘s borderline ridiculously honest approach audiences can identify with the frustrations she experiences.

8

Overarching Emotional Relevance The narrative fall under the emotionally relevant theme of Human Nature and Personal Development. Sophie is in a very frustrating situation at Home Affairs and she is also dealing with personal issues at the Psychiatrist. The audience can emotionally with the Protagonist by the visual arrangement and shot selection that amplifies her anger for the public sector. Medium Closeup‘s and Close-up‘s will show how Sophie‘s anger increases and her facial expressions will evoke these emotions. The intercutting from scene 1 and scene 2 will enhance this feeling as it moves from a calm and collected Psychiatrist consultation room to a chaotic Home Affairs office.

Character Binaries The two character binaries focus on the emotional state of the protagonist throughout the narrative.

1. Anger vs. Contentment Sophie is content and relaxed at the Psychiatrist and she is enraged at Home Affairs. This binary focuses on separating the character‘s emotional response from each of the two scenes. At the Psychiatrist, Sophie is calm, relaxed and understanding and at Home Affairs, she is furious, disrespectful and aggressive.

Contentment – Acupuncture Bed

Anger – Home Affairs

9

2. Antagonism vs. Harmony Sophie is antagonising herself from the patrons and staff at Home Affairs. She is creating a dramatic unnecessary outburst and the people are responding to it negatively.

The

Psychiatrist is creating a harmonious and eased environment for Sophie. We amplify this binary through the different harmonious elements at the Psychiatrist; Yoga area/ Acupuncture area/ Flower Garden/ Zen Sand Box.

Chaotic Home Affairs

Harmony at Psychiatrist

Central Character Problem The central character problem is the internal problems Sophie is dealing with. She is seeking understanding and acceptance from others and herself. She wants to change herself, but fails to do so, thus she wants to change the problems in society and this motivates why she struggles with managing her anger.

10

Subculture and Environment The specific relevance is related to the subject matter of the narrative in that the problems the protagonist has to deal with as well as the environments in which they take place are recognisable to almost all South Africans. According to the 1996 Census ―[o]f the 40, 6 million people living in the country in October 1996, just over 16, 1 million or 40% were youth, i.e. people in the age bracket 14 to 35. South Africa's population is thus relatively youthful, a feature of the population of many developing countries‖ The film considers national cultural psyche through the experiences of a young South African woman. By means of emotional problems that have little to do with society, but as much to do with the motive force of melodrama, she overcomes obstacles on her path to inner peace. The narrative is relatable in its portrayal of our familiar pettiness and impatient attitude toward a country that is still very much on the road to recovery. In the comedic tradition, the narrative simplifies and exaggerates the attitudes we often have toward seemingly menial irritants that plague our days when ultimately all we require is a willingness to laugh at ourselves as a collective. In a country that is still largely separated culturally, we all have to visit the dreaded Home Affairs Office at some point or another. The primary subculture that can relate so Sophie and the central character problem is those of Generation Y.

The generation Y apparently believe they can achieve anything. They are strongly leadership focused, collaborative and seek meaning in work and opportunity to learn. Natives of the digital world, they are frequently portrayed as demanding, selfish, text-addicted and jobhoppers with little loyalty to their employers. On the contrary, they are under less financial threats than the previous generations and have grown up with green issues into their way of living. Besides, they are more urban focused and buy quickly into new concepts and ideas. The film revolves in a modern South African environment. It‘s 2011 and the typical South African political, economical en cultural themes apply.

11

ETB: General, Conceptual and Emotional relevance

1. EPSPO: We are introduced to the Psychiatrist who sets the premise for the series by describing the Protagonist, Sophie and the events leading to her court ordered therapy sessions. Emotional Relevance:. Sophie becomes extremely agitated and her focus moves to the annoying sound of the fish tank pump. She works herself up and is not deterred by her therapist‘s input. General Relevance:. This is Sophie‘s introduction as an extremely disgruntled individual who is very vocal about her frustrations. It becomes clear that she over complicates her life by refusing to adhere to everyday expectations of her as a member of society. The content of her rant is what links this scene to the next, as we see her continue the same outburst with a complete stranger. Conceptual Relevance: At first Sophie is reluctant to talk to her therapist but then commences on an unstoppable rant about the process of having her cell phone registered. Her therapist cautions her to manage her anger and her anger management problem is what the film/TV series will be about. 5 Narrative Beats: Propositional beat. Sophie‘s circumstances are established and her character flaw is made clear to the audience.

2. 1st explosion: After waiting in a queue for a presumably long time and finally reaching the front, the clerk shuts the window before Sophie is able to handle her business. Sophie has reached the end of her tether. Emotional Relevance:. Sophie does not want to stand in a queue at Home Affairs and she draws attention to this despite the obvious fact that no-one else probably does either. She is insensitive to the fact that the people around her are put off by her relentless complaining. General Relevance: These events portray Sophie‘s lack of awareness for those around her. The world is merely an externalisation of her emotional state and the people that inhabit the world are soundboards for her feelings. Conceptual Relevance: Sophie is still talking about her distrust of the cell phone registration process, but this time to a complete stranger in a queue at Home Affairs. She is irritated and makes this known by her demeanour and exaggeratedly swotting flies She then turns to the woman behind her and expresses her dissatisfaction, the woman does not indulge Sophie‘s advances. 5 Narrative Beats: Oppositional beat. Sophie has confronted her problem head on. The antagonist seems to be Home Affairs. Sophie in the enemy‘s territory and she is at a disadvantage, the Clerk behind the counter has the upper hand

12

3. Vacuum: Sophie collapses onto the counter in defeat, only to find that it is covered in an unidentifiable sticky substance. Emotional Relevance:. When the clerk closes the window, Sophie takes it as a personal insult and assumes that the woman behind her will feel the same way. General Relevance: The event of the window being closed is the catalyst for Sophie‘s fight with the clerk and eventual removal from the premises. Conceptual Relevance: As she reaches the front of the queue, the clerk shuts the window for lunch. She taps on the glass but to no avail. Sophie collapses onto the counter and her arm sticks to it. 5 Narrative Beats: Escalation: Sophie is starting to become more and more annoyed and her internal character problem is starting to be evoked by escalating problems at Home Affairs.

4. Problem solving attraction: Sophie attempts to involve the woman behind her by addressing the issue of unnecessary queuing. She is searching for comradeship or solidarity in her situation. Emotional Relevance: The underlining theme of Belonging is amplified emotionally as she is searching for solidarity about the poor service at Home Affairs. General Relevance: The binary code Constructive vs. Destructive is amplifying the narrative through Sophie who wants to rebuild her ally‘s and comrades in the queue and get them on her side. Conceptual Relevance: Amplified sounds of babies crying, someone coughing and flies buzzing may be implemented to emphasise the unpleasantness of the Home Affairs Office. This is conceptually relevant to the poor service and unhygienic environments at most South African Public facilities. 5 Narrative Beats: This is an escalating beat. Sophie‘s problem gets bigger and bigger and her chances of actually being properly served is getting worse.

13

5. PSD’s: Sophie can decide to either use the tools she has learnt in her therapy sessions to control her anger and wait calmly with all the other people waiting in line, or act upon her disgruntled attitude. Emotional Relevance: Sophie has responded to the state of home affairs as a personal insult and has consequently appointed herself to rectify the situation. Although this is a ridiculous conclusion, she is genuinely confused when the clerk will not allow her to continue with what she considers to be helpful. General Relevance: Sophie wants to the other patrons, but in reality she wants to prove to the Staff of Home Affairs that she knows best. This is a common thing for people to do and complain about when waiting in long queues and when they have experienced poor service. Conceptual Relevance: Sophie looks at the confusing directional notice boards and believes that there is a lot of unnecessary queuing going on. She leaves the queue and begins to make new ―improved‖ directional notices to put up onto the board. She goes over to the notice board and starts pulling down the original instructions and is speedily approached by a Clerk. 5 Narrative Beats: Escalation: People are starting to gather as they watch Sophie‘s outburst. The narrative and character binaries are escalating as she is moving further and further away from Harmony and Contentment.

6. Solution: Instead of having a fit of rage she decides to redirect her efforts ―constructively‖ by updating the directional notices. In her misled mind this is being constructive. Emotional Relevance:. The more resistance she is confronted with, the more she resists. This relates to the character binary of Antagonism vs. Harmony, because Sophie is antagonising herself from the people who are serving her at Home Affairs. General Relevance:

This beat is relevant to the second binary that relates to general

relevance and is universal to people with fits of rage: Submission vs. Resistance – The more one tries to resist the problem, the worse it gets. Conceptual Relevance: Sophie then gets into an argument with the clerk and attempts to reason with him/her as she truly believes she is being helpful. 5 Narrative Beats: Escalation – Sophie is antagonising herself more and more, which escalates the central character problem.

14

7. NPSPO: The protagonist attempts to reason with the clerk, claiming that what she is doing is for the greater good. Emotional Relevance: She attempts to maintain herself and calm down. This relates to the character binary of Anger vs. Contentment. General Relevance: This sequence is the build-up to the climax. It shows Sophie‘s inability to control herself and follow the rules. It reveals how Sophie ended up in Anger Management in the first place. Conceptual Relevance:. This sequence is intercut with Sophie in the psychiatrist‘s office naming the anger management tools that she supposedly used to deal with the situation reasonably. However we see that although there are correlations between the tools and the actual event, Sophie really didn‘t apply them very well. Sophie spirals out of control and refuses to adhere to the clerk‘s warnings and eventually the clerk motions for security. 5 Narrative Beats: Final Escalation – The apex of escalation, just before the complication beat of the narrative. Sophie is freaking out and she is out of control, she has failed to maintain harmony within herself.

8. 2nd explosion and vacuum: Protagonist is dragged out of the Home Affairs office, kicking and screaming. Emotional Relevance: Sophie is relentless in her efforts to fight whatever is system she finds herself in and she insists on being heard. Her sarcasm suggests that beneath all her ranting she is extremely insecure in a world that she does not understand. She isolates herself yet she needs to be heard, these are conflicting attitudes. General Relevance: The character flaw is exposed. Sophie has failed to fulfil the binary codes due to her resistance and anger. Her need for belonging is left empty as she is dragged out. Conceptual Relevance: The reaction of the extras is crucial to the impact of this scene. It once again emphasises Sophie‘s lack of social awareness and will add to the comedic effect. Visually it should look as though the entire Home Affairs office has come to a standstill, which ironically is what Sophie has set out to combat. 5 Narrative Beats:. Complication – Security physically intervenes and drag Sophie out. She can no longer disturb the people at Home Affairs and she has lost her battle.

15

9. Climax: Sophie has pasted her directional improvements all over the outside of the Home Affairs office. Emotional Relevance: Only once she has been escorted out of the building does she plead with the security guards and by doing so, she admits to needing the system which is possibly the root of her problem. General Relevance: This sequence is the culmination of Sophie‘s rants; it proves how ineffective her methods are and perhaps hints at what a lonely person she truly is. Conceptual Relevance: Sophie is dragged, kicking and screaming out of the Home Affairs office by security. Her reason for being there is revealed as she shouts that she needs an ID to be able to register her phone (which links to her original complaint). The narrative then cuts back to the Psychiatrist‘s office where Sophie begins to make a breakthrough by mentioning that perhaps she could let things go more easily, however she returns to her original attitude almost immediately implying that this is not the last of this kind of behaviour. 5 Narrative Beats: Complication – Sophie has lost the battle, but not the war. To solve her anger management problem, or at least to give her the feeling of victory, she trashed and covered the exterior of Home Affairs with her raging opinion of Home affairs.

10. FPSPO: Although Sophie has not worked through her anger issues, she is on the road to recovery. She has put her notices up instead of causing additional direct conflict with the administrators at Home Affairs. Emotional Relevance: In the end, Sophie gets her way, She trashes the entrance of Home Affairs and feels emotionally fulfilled. The Binaries of Anger and Antagonism have been fulfilled. General Relevance: By putting the notices up it shows that she never gives up on the principles that she believes in, a character trait that when re-focused may indeed prove useful or helpful. Conceptual Relevance: This cuts to the exterior of Home Affairs where Sophie‘s notices are plastered all over the outside of the building, and back to the psychiatrist‘s office where Sophie claims to have managed her anger. 5 Narrative Beats: Revelation – Sophie has achieved victory. Sophie is still struggling with her anger management and this internal character problem will drive the narrative into more episodes and through her therapy sessions she will reach a state of full recovery. .

16

Central Event Problem: Scene-by-scene Breakdown

The 5 Textual Interpretation questions of the central event problem are: WHO: Sophie, a anger management patient, sentenced to court ordered anger management psychiatry sessions. WHAT: Sophie is dealing with anger management problems and is having a terrible and testing day.

WHERE: Home Affairs, the place where South Africans are most likely to lose their minds and have a complete rage fit. WHEN: Sophie is at Home Affairs just before lunch time in a long qeue and she is getting extremely frustrated about it. WHY: Sophie has to review her driver‘s license, due to yet another furious outburst with a traffic officer, who suspended her driver‘s license. The film consists out of two scenes. The first scene is at the Psychiatrist consultation room and the second scene is at Home Affairs. The scenes are linked together with Sophie speaking directly to camera, delivering a video journal of the daily events. The narrative intercuts in-between the two scenes as the narrative progresses and it reaches a climax at Home Affairs and resolution is back at the psychiatrist again. The central event problem is portrayed in scene 2, where the primary event-narrative will take place. Sophie is in a long queue at Home Affairs. Her anger management problem causes her to make a dramatic scene, which ultimately gets her kicked out of Home Affairs and arrested for causing unrest in public.

CEP Establishment/Development/Fulfilment The central event problem is established visually with a montage that resembles the poor service from the public sector. It is strengthened when we see that Sophie is waiting in a very long queue and that she is getting agitated while waiting. Her anger develops into a fit of rage as the narrative progresses and she starts freaking out and acting out her anger. The central event problem is fulfilled when we see that Sophie wrecked Home Affairs early the next morning with toilet paper and trash everywhere.

17

Central Character Problem: Scene-scene breakdown/Character Growth The central character problem revolves around Sophie‘s anger management issues. This is depicted in scene 1 at the Psychiatrist‘s office. Here she explains her feelings and issues to the Psychiatrist and he provides her with healthy tools that she can use to prevent her from acting out her anger. This scene intercuts with the presently happening events at Home Affairs.

Scene 1 will consist of a variety of different methods that the Psychiatrist uses to calm his patients down and help them. This scene will occur non-linearly to the rest of the plot, as it happens on different appointments.

CCP Establishment Sophie is sitting in a couch and she starts to talk about her problem with the Psychiatrist. He gives her advice and she tries to implement it at Home affairs.

CCP Development The Psychiatrist continues to help her control her anger by using different techniques. As Sophie discovers more about her problem, the scene will move onto different stages.

1. They are sitting at couches talking 2. The Psychiatrist give Sophie acupuncture to calm her down. 3. They do meditating yoga together 4. They find the right path in a Zen sandbox 5. Sophie admits her problem in an AA meeting with other anger management patients 6. Sophie cares for a plant, by watering it, which evokes the sensitive side of Sophie.

CCP Fulfilment The character problem is fulfilled when Sophie speak to the camera again in the last shot, where she believes that she is managing her anger, by trashing Home Affairs. Sophie does not overcome her anger management problem. This can drive the narrative forward into following episodes, where Sophie continues to go to the Psychiatrist due to this character flaw.

18

Character Goals

Sophie is her own worst enemy, when she is confronted with everyday frustrations, she responds to them as though they were personally directed at her. Although she is selfrighteous and uses sarcasm as a weapon, her honest, over the top and often accidentally comedic response to life makes her enduring. What most people are socially aware enough not to say out loud, Sophie verbalises to anyone who will listen. Sophie attempts ―to dominate the environment, and to stay in control of [her] situation.‖ In scene 1, Sophie‘s character goal is to understand and overcome her anger management problem at the Psychiatrist. In scene 2, Sophie‘s character goal is to make everyone else understand and conform to her opinion in Home Affairs. She reaches neither of these goals, but she handles her anger management problem in her own way, by acting out in revenge.

19

Character Obstacles PROTAGONIST CHARACTER TYPE 8:

According to the Enneagram institute Sophie may be described as a Challenger or a Type 8 personality. ―Eights are self-confident, strong, and assertive. Protective, resourceful, straighttalking, and decisive, but can also be ego-centric and domineering. Eights feel they must control their environment, especially people, sometimes becoming confrontational and intimidating. Eights typically have problems with their tempers and with allowing themselves to be vulnerable.‖ (INSTITUTE, The Enneagram, 2007)

Sophie attempts to be in control of her situation by upsetting the systems that are already in place, whereas the Administrative clerks‘ objective is to have everything remain as it is without any disruption. In this way a power struggle occurs as the clerk attempts to create harmony in his/her environment, s/he wants to avoid conflict and preserve things as they are. When Sophie proves unmanageable, she is forcefully escorted out of the building and order is once more restored to the Home Affairs office.

20

Goal attainment Strategies

She wants to be self-governing, and resists being obligated to anyone. Although Sophie is assiduous, she often loses emotional contact with many of the people in her life. She is often so out of touch with social norms and standards that it confuses her when those around her become increasingly disgruntled and put off by her behaviour. Even after Sophie is physically removed from the Home Affairs office, she plasters her directional notes on the outside of the building, proving her unyielding, relentless nature and self-righteous need to make a point. Throughout the series she may begin to make more personal connections with people, this process begins with her therapist as he is the first individual who is obligated to really listen and take note of what she says.

21

Fulfilment: Events and characters By looking at Sophie‘s response to the first and second explosions and their vacuums within the ETB, we can identify the event and character fulfilment.

PROTAGONIST’S RESPONSE TO 1ST EXPLOSION AND VACUUM After standing in the queue at the notoriously unorganised Home Affairs office for a predictably long time, Sophie is denied access to the clerk‘s desk for another hour as the staff takes lunch. In the vacuum, she dramatically slumps down onto the counter, defeated. By doing this Sophie makes a public display of her frustration. She then turns to the person nearest to her in an attempt to find an ally in her situation; however instead of merely making note of the situation she proclaims that the entire country is to blame for their dilemma. She exaggerates the situation and makes it personal. She does this in an attempt to justify her behaviour later on in the narrative as she attempts to better the directional system. What might be considered delusions of superiority, is merely a lack of social awareness and a basic understanding of acceptable public behaviour. Sophie lacks a filtration system and is genuinely confused by what she considers obvious flaws in society.

PROTAGONIST’S RESPONSE TO 2ND EXPLOSION When Sophie is physically escorted from the Home Affairs office, she is defiant to the end. She disregards the fact that she is making a spectacle of herself and is seen being dragged out kicking and screaming. By the end of the narrative we see that regardless of what has happened, she has insisted on putting up her notices on the outside of the building. This emphasises her desire to prove a point. The fact that she needs to get an identification document becomes secondary to the principle of what she believes to be a crime against logic. Although her character development is negative (as she does not adopt a new behavioural pattern) the fact that she is therapy suggests that she is on the road to recovery.

As the series progresses, so will Sophie‘s ability to access situations and behave appropriately.

22

Resolution and Resonance The significance and deeper meaning to the narrative lies within the history of South Africa. It portrays the Post- Apartheid era and how South African citizens view the governing political parties and leaders. The environment in which the action takes place is ripe with visually metaphoric possibilities, and the film will draw on much South African symbol and iconography. The confusing notice board at the Home Affairs Office become a metaphor for an ill-defined cultural generation. In a volatile country where political sensitivity still lingers amidst a post-apartheid generation, the ineffective system for obtaining an identity document may stand for an inability to define oneself within the South African context. This inability is then rechanneled as confused frustration and ultimately personalised anger focused on an inanimate bureaucratic system, which in the narrative takes the form of Sophie‘s personalised directional notices.

23

Genre In general when asked how people define comedies, the word ―laugh‖ would usually be involved. Everyone likes to laugh so then it must be easy to make a comedy film? ―Initially comedy seems to be a very easy genre to deal with, most people like ‗amusing‘ films; however, one person‘s sense of humour is another person‘s misery. From the perspective of genre the ability to appeal to a wide range of people to gain financial success means that it is a very difficult genre to do well, either as a genre in itself or as an aspect of a multi-generic or hybrid generic film.‖ (Walford, 2007) Comedy is generally considered a genre hybrid because it can be made as black comedy, slapstick, gags, satire, parody, mockumentary etc. ―Comedies frequently rely far less than most other genres upon standardised narrative devices.‖ (Walford, 2007)

―The comedy genre humorously exaggerates the situation, the language, action and characters. Comedies observe the deficiencies, foibles, and frustrations of life, providing merriment and a momentary escape from day-to-day life. They usually have happy endings, although the humour may have a serious or pessimistic side.‖ (filmsite.org) Here are some common elements that many comedies share:  The protagonist has a character flaw he is unaware of.  Audiences can identify with the protagonist‘s character flaw because it‘s a common, human flaw. This is what makes them laugh – they recognise the flaw in themselves  The protagonist‘s flaw hinders his relationships with other.  He only become conscious of his flaw then there is a crisis.

Audiences are well versed in genre conventions and come to the cinema with certain expectations. There are four main areas of convention within genre that need to be adhered to, namely: setting, roles, events and emotional expectations. For example when watching a romance film you expect to have the boy-meets-girl moment or when watching a detective film there needs to be a cop and a criminal otherwise the hero cannot triumph over evil. Even without being aware of it the audience will judge a film within a genre according to these criteria.

24

Film References

The Office USA (The Office USA, 2005-)

Synopsis: A mockumentary on a group of typical office workers, where the workday consists of ego clashes, inappropriate behaviour, and tedium. Based on the hit BBC series. The office is both an aesthetic and stylistic reference for Life is Hard. The office is an American comedy television series broadcast by NBC. ―Adaption of the BBC series of the same name, it depicts the everyday life of office employees in the Scranton, Pennsylvania, branch of the fictional Dunder Mifflin Paper Company. To simulate the look of an actual documentary, it is filmed in a single-camera setup, without a studio audience or a laugh track.‖ Modern Family (Modern Family, 2009-)

Synopsis: A satirical look at three different families and the trials they face in each of their own uniquely comedic ways.

25

Modern Family is both a narrative, aesthetic and stylistic reference for Life is Hard. Modern Family is an American television comedy which debuted in 2009. Depicted in a mockumentary style, the fictional characters talk directly into the cameras during many situations that arise throughout the series. It received a ―universal acclaim‖ (www.imdb.com) Metacritic score of 86 out of 100. According to metacritic, the first season was the best reviewed new broadcast television series. BuddyTV named the show the second best show in 2009, saying: ―Every actor is fantastic, every family is interesting, and unlike many shows, there isn‘t a weak link.‖ ―The third season premiere became ABC‘s top-rated season premiere in six years.‖ (Seidman, 2011) Other film references that relate to the hyper-realism shooting style include: Extras (Extras, 2005-2007)

Synopsis: Andy Millman is an actor with ambition and a script. Reduced to working as an extra with a useless agent, Andy's attempts to boost his career invariably end in failure and embarrassment. Arrested Development (Arrested Development, 2003-2006)

Synopsis: Level-headed son Michael Bluth takes over family affairs after his father is imprisoned. But the rest of his spoiled, dysfunctional family are making his job unbearable. These series‘ are created in the mockumentary style genre. The focus is on characters surviving in the modern world. They are character and situational driven comedies.

26

A mockumentary "is specifically limited to fictional texts; those which make a partial or concerted effort to approximate documentary codes and conventions in order to represent a fictional subject‖ (Hughes, 2004). There has been a recent surge in mockumentary style television series as of late, following the success of the British television series The Office. A mockumentary is a type of film or television show in which fictitious events are presented in documentary format. These productions are often used to examine or comment on current events

and issues by using a fictitious setting, or to parody the documentary form itself.

In the pilot episode the protagonist attempts to complete an administrative task at a local Home Affairs office. Through making use of this South African comedic stereotype (i.e. Home Affairs) and re-contextualising it through the eyes of an unsatisfied South African who is unable to filter her typical frustrations to a socially acceptable level. She engages in accidental offensive behaviour and public outbursts which lurk underneath the skin of most South African inhabitants.

When referring to his 1969 film Take the Money and Run, filmmaker Woody Allen states; ―The documentary format was very serious, so you were immediately operating in an area where any little thing you did upset the seriousness and was thereby funny‖ (Oliver, 2011). Though the content is recognisable as comedy, handheld cameras capture the feel of direct cinema. For this reason the format and technical aspects of our project are as vital to its plausibility as the narrative content. ―The filmmakers use the documentary form to create illusions that have kind of a real feeling to them. What you see has to be real – because it was put to film‖. (Oliver, 2011).

27

Translation Style The episodes will intercut between her sessions with an off-screen, off-beat therapist and events in her daily life. The pilot episode is the protagonist‘s introduction to the audience. In the pilot episode the protagonist attempts to complete an administrative task at a local Home Affairs office. Through making use of this South African comedic stereotype and recontextualising it through the eyes of an unsatisfied South African who is unable to filter her typical frustrations to a socially acceptable level.

Camera Style: Hand Held Realism One of the camera techniques we will be employing is that of the handheld camera. This will emphasise the unpredictability of the subjects‘ behaviour, for example if the protagonist unexpectedly storms out of a room the camera movement (having no time to prepare) would be unstable and slightly erratic emphasising the chaos of the situation. In this way the camera becomes an additional character as not only do the characters‘ interact with it, but opinionated filming makes commentary through what is being portrayed. Another way in which this unpredictability may be implemented is through the use of high speed zooms. Camera Zoom‘s: Zoom from MS – MCU , loose Hand Held Shots and steady cam Tracking. (Modern Family, 2009-)

28

Lighting style Therefore we will be employing soft lighting that ―wraps‖ around the set, casting shadows with soft edges, and as the aspect ratio will be set for television the focus in each frame will generally be in the middle.

Editing style: Effective and rapid intercutting between the two scenes will enhance the humour and conceptual relevance in the dialogue. It will also make the actor‘s performance ore believable as it intercuts on certain dialogue beats. Production Design style: The setting of our project is typically South African and will therefore make use of visual indicators that at times make subtle commentary about the environment and at other times vociferously poke fun at the ridiculous nature of the world we live in. Although the series attempts to mimic the documentary style of filming, it remains a parody and therefore comedic in content. It is scripted and therefore will acquire a sense of heightened reality and therefore aesthetically it should remain pleasing and light in terms of colour palette and design as to stay true to the comedic genre.

Colour Pallete for the Scene 1: Int. Psychiatrists Consultation Room

29

Visual effects: Creative use of Visual effects will make the title sequence and Pilot Episode title very entertaining and engaging. Film references for the Title Sequence include: Kitchen Confidential (Kitchen Confidential, 2005)

Creative use of Editing and VFX split screens. CMS style Because the protagonist is so conservative, the CMS style focuses on how restricted Sophie‘s personal wardrobe is. She starts off as anal-retentive and she develops toward a more relaxed and liberal CMS style. At the Psychiatrist, she does not want to open up her emotions and she dresses quite protectively, but as the narrative progresses, we see her changing into loose clothing while doing yoga and comfortable white cotton clothing while in the Zen garden. Anal-rentitive

Liberal

30

Sound style In the same way sound may be used as an additional opportunity for heightened comedic effect as the subjects are supposedly not accustomed to being hooked up to a microphone. So for example in moments of extreme awkwardness the character might accidentally and repeatedly brush over the microphone and then react to the off screen reactions of the camera crew. This will be done indirectly. The character will be directly connected to her narrative world, but still be connected indirectly and subconsciously to the camera crew.

Camera and Actor relation. Jane Roscoe, the author of Faking It states that deconstruction is a vital component to the genre of mokumentary as ―deconstruction subverts and deconstructs the conventions and aspects of the documentary. For example the way in which The Blair Witch Project created fear in the audience by deconstructing the classic horror genre.‖ Our series will be utilising this Alienation technique by deconstructing the ‗glossy‘ sitcom genre by combining it with the uncomfortable realism of a documentary. An example of how this will be executed is that at times the characters will address the camera directly.

When the protagonist is talking to the off screen psychiatrist, she is looking directly at the camera, suggesting that the position of the psychiatrist is somewhere behind the camera. In a way this discredits the legitimacy of the therapist and pokes fun at the current outpouring of reality TV shows that promote so-called serious people with real problems. The characters‘ awareness of the camera crew creates additional comedic possibilities as the intimate revelation for a fake smile or a heart-warming moral for an ill-timed disability joke, makes them more enduring and relatable. In short, the camera behaves like a documentary camera and the actors behave like documentary subjects.

31

Staging The sections below each contain a short paragraph of accurately planned character beats. These beats help to construct the storyboard and will give a clear indication to the actors and mise-en-scene of what is happening in frame. Scene 1.1: INT. Psychiatrist Consultation Room – Day Sophie and Psychiatrist. Sophie on Couch. Psychiatrist on Couch. There is some tea in a cup and psychiatrist is dressed in outfit 1. Static positions. She looks at the fish tank and looks into the lens. Annoyingly. Scene 1.2: INT. Psychiatrist Consultation Room Acupuncture bed – Day Sophie is laying on her stomach, looking through the peep hole in the acupuncture bed. The Psychiatrist puts hot rocks on her back. she shrieks. Her body is partially covered in needles already. Psychiatrist is in outfit 2. Scene 1.3: INT. Psychiatrist Consultation Room flower garden – Day Sophie and Psychiatrist are at the Flowering garden. Psychiatrist is drinking tea. He is dressed in a different outfit. Sophie is watering some plants. Weed plants too. Psychiatrist is just standing there watching her. Scene 1.4: INT. Psychiatrist Consultation Room Yoga Mat – Day Sophie and Psychiatrist is on a yoga mat. Both in their Yoga clothing. Psych is shirtless with a loose pants. Downward Dog pose into stretch ! Track shot. Both of them are facing the each other/ Psychiatrist is drinking tea on a little wool pillow, facing her. Scene 1.5: INT. Psychiatrist Consultation Room ZEN sandbox – Day Psych and Sophie are standing in front/ inside the Sandbox. Sophie is raking the sand. Psych is holding a stick. Sophie rakes the sand and it reaches a rock. Psych points the route. Sophie rakes along the rock until she passes it. Psych with a cup of tea. Scene 1.6: INT. Psychiatrist Consultation Room AA meeting – Day Psych is sitting in an OTS position. 3 people are facing him/ Sophie and other 2 AA people. Sophie is in the middle. They all speak together. Camera tracks with them.

32

Scene 1.7: INT. Psychiatrist Consultation Room Yoga Mat – Day Sophie and Psych are on the yoga mat again. They are doing a standing pose this time they do it together. Scene 1.8: INT. Psychiatrist Consultation Room Acupuncture Bed– Day Sophie is laying on her back. Her breasts and groin are covered with a towel. The Psych is busy at a little table behind her, trimming the flowers of a bonsai tree or something. She lifts up her arm and wiggles it. Birds Eye shot. Scene 1.9: INT. Psychiatrist Consultation Room couches – Day Awkward silence, Sophie looks into camera, Psychiatrist clears his throat. Both just sitting. Scene 1.10: INT. Psychiatrist Consultation Room couches– Day Sophie on camera, dialogue.

Scene 2.1: INT. Home Affairs –DAY 1. Hawkers are outside selling chips and bananas 2. A very active and alive home affairs with lots of people walking around and signing forms etc. 3. The photo booth ticket man is taking photos of some people. 4. A clerk is behind her desk, talking on her cell phone in Xhosa. 5. We follow a very long queue until we reach Sophie. 1 man is in front of her [ elderly black man.] 1 lady is at the clerk already being served. 5 – 7 people are behind her, cramping up, giving Sophie some space. Extras are walking in front of the lens and far behind the camera. Scene 2.2: INT. Home Affairs –DAY Queue is closer to the help desk now. Sophie is staring at the back if a big black man‘s head. He is up next. She is swatting for flies every now and then. The black man walks to a booth to the right and Sophie walks to the booth in front of her. When she gets to the desk, the clerk slams it shut. And takes a seat 4 meters away, opening her lunchbox with chicken in it and starts eating. Sophie taps on the glass. Clerk points to the notice board and shouts out. Sophie looks at the notice board and falls into her arms on the desk. She pops herself up, sticking to the desk[ wet].

33

Scene 2.3[1][2][3]: INT. Home Affairs –DAY 1. Sophie gets up from the sticky mess 2. She turns around and talks to the lady behind her 3. The lady takes a step back 4. Sophie leaves the Q and rummages through her handbag 5. She takes out a pen and paper 6. The people in the Q check her out and gossip silently. 7. Sophie walks to the notice board 8. She starts writing over the notice boards with a permanent marker 9. Clerk exits booth and comes toward her, staying a 2 meters away. 10. Sophie Dialogue + she rips more notice boards off. 11. Sophie and clerk argument. People are watching and gossiping . Another clerk is peeping through her window at the event. 12. Argument continues ― Miss we need everyone‖ 13. Clerk and Black man stare at her as she starts freaking Scene 3.1 INT. Home Affairs –DAY Security pulls her out of the building. People are staring at her. Sophie dialogue. Scene 3.2 INT. Home Affairs –DAY 1 master Jib shot/ track shot. Camera is placed outside Home affairs, facing the entrance. 1. Hawkers are selling their products outside 2. Labourer is brooming the stoep outside. 3. Police drag Sophie outside. Camera jibs with the action. 4. Cranes up to the roof of the Home affairs, with 1 BIG Notice on the ROOF ! 5. While the cam cranes up, Sophie gets in a police car/ just continues out of frame. 6. Extras are walking in, checking out the commotion Sophie on camera scenes 2.1/ 2.3[1]/2.3[4]/2.3[5]/3.1/ 1.10 Ticket booth is flashing with black man operating it. Sophie is standing 1-3 meters away from it talking to camera.

34

Shot list Location

Scene

Shot Nr.

Description

Timing

1.1

1

Static XWS

3

2

Track OTS angle 1

8

1.1

3

Track OTS angle 2

8

1.1

4

Static - MSprofile

4

INT. Psychiatrist Consultation Room Couches

1.1

5

Static CU

5

INT. Psychiatrist

1.1

6

Static - CA

4

1.1

7

Static CU

5

1.1

8

Static - CA

2

9

Track OTS angle 2 CU

8

10

Track OTS angle 1 MS

8

INT. Psychiatrist Consultation Room

INT. Psychiatrist Consultation Room Couches

INT. Psychiatrist

1.1

Consultation Room Couches INT. Psychiatrist Consultation Room Couches

Consultation Room Couches INT. Psychiatrist Consultation Room Couches INT. Psychiatrist Consultation Room Couches

INT. Psychiatrist Consultation Room Couches

INT. Psychiatrist Consultation Room Couches

INT. Psychiatrist Consultation Room

1.1.

1.1

1.1

11

Track OTS angle 2 MCU

5

35

EDIT transition

1.1

Pilot Episode Title

1.1

12

Static Wide Shot

6

INT. MALL - Day EDIT transition

1.1-2.1

INT + EXT Home Affairs Day

2.1

13

INT + EXT Home Affairs Day

2.1

14

INT + EXT Home Affairs Day

2.1

15

INT Home Affairs Day

2.1

16

INT Home Affairs Day

2.1

17

INT Home Affairs Day

2.1

18

INT Home Affairs Day

2.1

19

INT Home Affairs

2.1

20

2.1

21

Day INT. Home Affairs Day

Static Cutaway MS Static Cutaway CU Static Cutaway CU Static Cutaway MS Static Cutaway MCU Static Cutawat CU Steady Cam Track Waist Shot

Hand Held Master Med Shot MCU Static Tight

3

2

2

3

3

2

10

10

4

MS

Sophie on Camera EDIT transition

2.1- 1.2

INT. Psychiatrist Consultation Room Acupuncture Bed

1.2

22

TILT down MS

4

INT. Psychiatrist Consultation Room Acupuncture Bed

1.2

23

Static CU

2

24

Static MCU

3

EDIT transition INT. Home Affairs Day

1.2 - 2.2 2.2

36

INT. Home Affairs Day

2.2

25

INT. Home Affairs Day

2.2

26

INT. Home Affairs Day

2.2

27

Hand Held Loose MS

6

INT. Home Affairs Day

2.2

28

Hand Held Tight MS

3

INT. Home Affairs Day

2.2

29

Hand Held MCU

4

INT. Home Affairs

2.2

30

Day EDIT transition

Hand held MS Hand Held OTS

Hand Held Tight MS

5

4

4

Tight MS 2.2-1.3 Hand Held CU Cutaway

INT. Psychiatrist Consultation Room Flower Garden

1.3

31

INT. Psychiatrist Consultation Room Flower Garden

1.3

32

Static CU Cutaway

3

INT. Psychiatrist

1.3

33

Static Waist 2Shot

7

Consultation Room Flower Garden EDIT transition

3

1.3-2.3[1]

INT. Home Affairs Day

2.3[1]

34

Hand Held MS zoom into MCU

5

INT. Home Affairs

2.3[1]

35

Static

3

Day

Cutaway

INT. Home Affairs Day

2.3[1]

36

Hand Held Tight MS to OTS

7

INT. Home Affairs

2.3[1]

37

Hand Held Waist 2 Shot

8

2.3[1]

38

Static Tight MS

4

39

Track - MS

6

Day INT. Home Affairs Day Sophie on Camera EDIT transition

2.3[1]-1.4

INT. Psychiatrist

1.4

Consultation Room Yoga Mat

37

EDIT transition INT. Home Affairs

1.4- 2.3[2] 2.3[2]

40

Day EDIT transition

Hand Held

4

MCU 2.3[2]-1.5

INT. Psychiatrist Consultation Room Zen Sandbox

1.5

41

Hand Held CA

2

INT. Psychiatrist Consultation Room Zen Sandbox

1.5

42

Static 2 Shot

6

INT. Psychiatrist Consultation Room Zen Sandbox

1.5

43

Static MCU

3

44

MS - Zoom to OTS

6

EDIT transition INT. Home Affairs Day

1.5-2.3[3] 2.3[3]

EDIT transition

2.3[3]-1.6

INT. Psychiatrist

1.6

45

Tracking Waist 3 Shot

4

Consultation Room AA meeting EDIT transition

1.6-2.3[4]

INT. Home Affairs Day Sophie on Camera

2.3[4]

46

Static Tight MS

7

INT. Home Affairs

2.3[4]

47

Hand Held Master 2 shot

10

48

Tracking

5

Day EDIT transition

2.3[4]-1.7

INT. Psychiatrist

1.7

Consultation Room Yoga Mat

Fullshot

EDIT transition INT. Home Affairs Day Sophie on Camera

1.7-2.3[5] 2.3[5]

49

Static Tight MCU

10

INT. Home Affairs

2.3[5]

50

Static Wide 2Shot

10

51

Birds Eye Static – Full shot

6

Day EDIT transition

2.3[5]-1.8

INT. Psychiatrist

1.8

Consultation Room Acupuncture

38

EDIT transition

1.8-3.1 Steady Cam Track MS

INT. Home Affairs Day

3.1

52

7

INT. Home Affairs Day

3.1

53

Hand Held Cutaway MCU

3

INT. Home Affairs Day

3.1

54

Hand Held Cutaway

3

MCU INT. Home Affairs

3.1

55

Hand Held

3

56

Cutaway MCU Static Loose

4

Day

INT. Home Affairs

3.1

Day Sophie to Camera EDIT transition

MS 3.1-1.9

INT. Psychiatrist Consultation Room Couches

1.9

57

INT. Psychiatrist

1.9

58

1.9

59

INT. Psychiatrist Consultation Room Couches

1.9

60

INT. Psychiatrist Consultation Room Sophie on Camera

1.9

61

Consultation Room Couches

INT. Psychiatrist Consultation Room Couches

EDIT transition EXT/INT Home Affairs

Static 2 Shot

Tracking OTS angle 2

OTS angle 1 Reaction Shot OTS angle 1

Static Tight MCU

3

10

3

4

6

1.9- 3.2 3.2

62

Static Wide Shot

4

63

Static MCU

4

Total Time

313 Sec [ 5:13]

Day EDIT transition INT. Psychiatrist Consultation Room - Sophie on Camera Cut to Black

1.9- 3.2 1,10

39

Visual & Acoustic Breakdown: Production Design/Sound Design/ Music There are two scenes in the narrative that consistently intercuts as the narrative progresses. The first scene will depict the Binary code of Harmony vs. Antagonism and the second binary code will depict the binary code of Anger vs. Contentment. The first scene takes place in a ―Wellness Psychiatrist Consultation room‖ that contains many different areas that Sophie and the Psychiatrist will use in their therapy sessions. The sound design will be vivid and crystal clear. The sound design will include elements of the earth and nature combined with a very harmonious music score that will enhance the character binary. Sound Design Foleys Scene 1: Birds Chirping/ Gravelling sand in sand box/ Fish Tank Water dripping/ Tea Sipping / Steam/ Snipping flower noises/ the waves of the sea Music Scene 1: Harmonious underscore with subtle Didgeridoo/ subtle beats of an African drum. Scene 1: Int. Psychiatrist Consultation Room : Couches

Scene 1: Int. Psychiatrist Consultation Room : Acupuncture Bed

40

Scene 1: Int. Psychiatrist Consultation Room : Yoga Mat

Scene 1: Int. Psychiatrist Consultation Room : Flower Garden

Scene 1: Int. Psychiatrist Consultation Room : AA meeting

41

Scene 1: Int. Psychiatrist Consultation Room : Zen Sandbox

Scene 2: Int. Home Affairs Scene 2 unfolds at Home Affairs in Cape Town. This scene will depict the dirty, unhygienic and poor public sector of South Africa. There will be hawkers outside Home Affairs and the overall look and feel of Home Affairs will make Sophie anxious and discomforting. This feeling will evoke certain emotions that relate to her central character problem of AnalRetentive Subclinical OCD. She will get frustrated, annoyed and this can be a catalyst for her angry outburst. The Sound Design and music will add tension to the emotional relevance. The sounds of patrons talking and walking about will be vividly heard, the chatter in the queue and the general announcements done by the Home Affairs staff will annoy the protagonist even more. There will be no music, although Home Affairs will be established with a montage sequence which will include a music score that relates to a South African Black Kwaito Subculture. Artists for this music score can be: Mandoza, Swatta Kamp, Zola 7, Mzeke- Zeke, Mafikizolo.

42

Visual & Narrative Requirements of the Cast Protagonist: Sophie

Character Look alike: Jayma Mays Backstory: Sophie is struggling with anger management and she is sentenced to a few weeks of court ordered therapy sessions at a Wellness Psychiatrist. She is anal-retentive and has subclinical OCD. Traits & Mannerisms: She likes making notes and to-do lists, she is always on control of her situation or she tries to be, by being in a ―checking‖ mode all the time. This ― checking mode‖ consists of ; checking the time constituently, checking her hair and making sure its perfect, checking the notices and always observing her environment. These mannerisms will be portrayed be the actress in a very subtle way. Ethnicity/race: Coloured/South-African Age: 24 Language: English Sex: Female Height: 159cm Weight: 54 kg Hair: black/brown Religious Views: Very Conservative Body: Small frame and Petite-looking. Composed and firm stance.

43

Actor Requirements: Actor needs to evoke a lot of emotions. She needs to research AnalRetentive OCD as a psychological illness and depict that in her character in a very subtle, natural and evident level.

Supporting Character : Psychiatrist

Character look-alike: Russel Brand

Backstory: Wise-Old Man Archetype Traits & Mannerisms: Laid-Back/relaxed/calm/ careless/open-minded. Ethnicity/race: Caucasian/ Argentinian Age: 30 Language: English/Spanish/Italian/Mandarin Sex: Male Height: 178cm Weight: 68 kg Hair: black/brown Religious Views: Very Liberal Body: Slim and lean. Actor Requirements: Actor needs to be able to do Yoga and portray a sense of calm and extremely relaxed way of speaking.

44

Other featured characters

Featured Clerk

Black Man

Labourer

Pregnant Teen

Mall Mascot

Crack head

Security

Lady

45

Dramatic Atmosphere

Scene 1: Psychiatrist Consultation Room For the first scene, the source / motivation will be from the window with practical tungsten lighting for colour contrast. I want to achieve a colour contrast in order to express Sophie‘s mixed emotions, supplemented by her calm environment and raging personality. Sophie states that she practices her anger management techniques and seems calm in the therapy room, however, when she is in a frustrating environment [Scene 2], she becomes extremely irritable and angry.

Possible Shooting Location Scene1 : Phakalane BuidlingJourney [http://www.phakalane.co.za/]

Scene 2: INT. Home Affairs The lighting will be intensified to be softer in the therapy room to convey a sense of calmness, whereas in the home affairs building, It will be slightly harder / more direct lighting style to express the tension and mood of the scene.

46

PD/ CMS Requirements Scene 1.1: INT. Psychiatrist

Couches/ carpets/ blinds/ Feng shui elements/ Fish Tank/

Couches

pillows/ pot plants / ornaments and statues / tea cup

Scene 1.2: INT. Psychiatrist

Acupuncture Bed/ Hot Rocks / bowl/ towels/ noodle bowl

Acupuncture bed Scene 1.3: INT. Psychiatrist

Build indoor stand/ pot plants/ gardening tools/ Noodle bowl

flower garden Scene 1.4: INT. Psychiatrist

Yoga section/ Yoga mats/ Small pillow.

Yoga Mat Scene 2.1: INT. Home

Directional notices/ Photos of Dept. Heads/ Notices on

Affairs

walls/banana Hawkers stand/ broom for cleaner/ photobooth + photos of Sophie/ Sticky glue/ Toilet paper/ trash bins/ Spray paint

Scene 1.5: INT. Psychiatrist

Square sandbox with sand/ harmony rocks/ rake/ incense.

ZEN sandbox

Character Sophie

Psychiatrist Mall Mascot Street Hawker Black labourer Clerks 5-8 featured extras Featured clerk AA meeting 3 people Photo booth operator Title Sequence Cast -Kids -Patrons -Sophie Security guard

Scenes

Wardrobe

1&2

1 2 2 2 2 2 1 2 Title Sequence

- Clothing for psychiatrist: uniform1 - Yoga clothes - Towels- acupuncture - Uniform 1: AA meeting - Loose clothing – Sandbox - Gardening clothes- flower garden - Uniform2: Home Affairs - 3rd uniform: Mall – Pilot Title 6 outfits: Yoga/Acupuncture/Couches/Sandbox/AA meeting/Sandbox Mascot Suit. Casual wear Working clothes- blue over- all Semi-Suit Female working clothing + name tags Casual to professional clothing. Beige skirt and Light blue top. High Heels Old clothing- T-shirts/Casual Khaki suit. Brightly coloured scene. Casual wear for all cast. Sophie in Uniform 1

2

Yellow shirt/ grey pants- black shoes- epaulettes.

1

47

Action Requirements The action requirements for Life is hard will be primarily focus around Sophie and her actions. In scene 1, Sophie and the Psychiatrist are the only characters involved and there is no loving dynamic. These two characters will have specific staged sequences that they must perform, but this scene does not involve no major action sequences Scene two will involve a lot of extras walking back and forth in the background. An Extra‘s Co-ordinator will give them specific actions that will make the narrative world more believable. Sophie and the Featured Clerk have staged sequences that relate to Sophie‘s central character problem. These sequences will be focused on and the whole shot selection process revolve around Sophie in this scene and all the characters that she connects with.

Shooting Requirements

The shot list does not have any intense shooting requirements. We will shoot on 500T film stock due to interior locations; Int. Home Affairs/ Int. Psychiatrist Consultation Room. We will require a hand held Zacuto rig that will allow us to shoot the realism translation style which will amplify the genre. We will also require a Steady-Cam rig for most of the staged sequences. We will shoot on a variety of different focal lengths. 12mm/18mm/30mm/45mm/40mm/120mm/80mm/60mm/70mm/100mm/90mm/75mm/25mm

48

Prose Writing Life is Hard is a 5 minute television pilot episode about a woman who is sentenced to anger management after vandalising an office. In a volatile South Africa, Sophie seems to experience everything on high volume and exaggeratedly verbalises what is on the minds of many. In this episode all she wants to do was complete a simple administrative task at Home Affairs which, for her, turns out to be both time consuming and overly complicated. The series will follow Sophie on a range of misadventures as she attempts to navigate her way through this complicated country mine-fielded with colourful characters and politically incorrect situations. Throughout the series, with the help of her psychiatrist, Sophie learns how to re-channel her relentless nature, to the extent that she is able to make contact with fellow inhabitants of this crazy planet on a more humane level. The message being that it is important for us to be able to laugh at ourselves, as a country.

49

Methodologies of acting styles I have taken Constantine Stanislavski as my mentor in practicing efficient rehearsals and I am going to use his techniques of improvisation to better the performance of the actress.

Improvisation Improvisation can highlight aspects of the character that will have to be acutely demonstrated later, on the set, in a much more economic fashion. It can also free up the inner life of the characters by widening the range of possibilities that might have been hidden before.

I quote Cathy Haase in her book : Acting for Film (HAASE, Cathy, 2003) To improvise without parameters can be a waste of time. As in the sense memory work, it is best to wonder about the possibilities by giving your imagination free reign within a set of boundaries. You set up the boundaries by asking a specific question, rather than trying to prove a preconceived idea by forcing it on the improvisation. The right question will lead you to a usable answer or to the formulation of a better question. You only work on one or two elements at a time, so that you can explore them fully without overtaxing the acting instrument. You keep what you feel has worked from one improvisation, choose something else to work on, and layer it into the next improvisation.

Rehearsals A director should have a personal rehearsal with his/her actors in order to communicate and translate the script better to them. During such a rehearsal, the actors may be able to employ their Inner Monologue to express what they would like to communicate with the text, but are unable to convey. They can only use this technique sparingly, and then revert immediately back to the text to try and put into the text what they have just said in their own words. It is a way of uncovering a moment when there is no time to discuss or hash it out. The impulse comes through their own words and then goes right into the line that they are supposed to say.

50

―The director/writer supplies an intellectual format or concept that may or may not have yet taken the form of a script. The actors take the concept on a journey through their imaginary reality as the concept inspires them. Their imaginary reality elucidates different factors of the creative concept through action and behaviour. This bounces back to the writer/director, who formalizes it and throws it back into the acting pit by either structuring it into a script or making the concept more complex.‖ (HAASE, Cathy, 2003)

Stanislavski‘s Observation Exercise This exercise asks you to do what you do for many hours every day, but within a preset amount of time and with keenly focused observation.We spend many hours of each day walking or driving from one place to another, shopping or eating out somewhere, in an office or classroom, in an infinite number of places where we come in contact with other people. Many of them are strangers. Our thoughts drift from what we ourselves are doing to a streaming internal commentary on everything around us. We do this shift in thought unconsciously. Now, the idea is to do it consciously. To frame this exercise, I use a quote of Konstantin Stanislavsky‘s from the book Stanislavsky on the Art of the Stage. ―One must never think of the theatre as a place for some special sect of dedicated people. One must never look upon it as a place which is divorced from life. All the roads of creative human endeavour lead to a manifestation of life as ―all roads lead to Rome.‖ And the Rome of every man is one and the same; every man carries his entire creative genius within him, and he pours everything out of himself into the broad stream of life.‖ (HAASE, Cathy, 2003)

1. Choose a public place where you can sit undisturbed for a long period of time—a café, coffee shop, bar, park, etc., anywhere there are likely to be many people. It‘s best to choose a place where you are not likely to run into people whom you know, only because this is an exercise that you must do alone, without familiar company. 2. Bring a notebook for writing with you. It‘s best to write things down uncensored as they happen, and then read and think about them later.

51

3. Once you‘ve settled down in your chosen place, set your watch for one hour.

4. Observe the people around you, and write your observations in your Journal. Watch, observe, muse, and write. This is not continuous writing. Most of the time is spent observing. 5. While you are observing others, observe yourself and how you honestly feel at the moment. Start to write down these self-observations.

6. Start by writing about what you see around you, or, if you are unable to do that, then write about how you feel about doing the exercise, then move it to the observations. Write about the people—who you think they are, where they come from, what they‘re doing, etc., or whatever aspects about them interest you. While you are doing this, try to see the creative genius in each person. Don‘t forget to include yourself. 7.

When your hour is up, close your Journal and go about your life. Don‘t read what you‘ve written just yet. Wait. After at least a few hours, pick up your Journal and read it. As you read, ask yourself some of the following questions: •

Was I honest, and if I was, how do I feel about it now?

•

When I started to feel something, what did I do? Did I investigate

•

the feeling further, or did I quickly move on to something else?

•

If someone seemed to notice what I was doing, how did I react?

•

Did I go as far as I could have with my observations of my

•

surroundings?

•

Was I able to concentrate on the task at hand, or did I ―drift‖ and

•

then find myself lost in my thoughts?

•

If and when I did this, did I admit it in writing, or was this self-observation

•

omitted?

•

Did I leave myself and my innermost feelings and observations

•

totally out of this exercise? Why did I do that?

•

Do I judge people so harshly that I tend to stereotype them, and

•

if that‘s true, how would I portray them as an actor?

Each time you do this exercise, you can go a little bit further into the relaxation and concentration process. (HAASE, Cathy, 2003)

52

Value change of 3 crucial scenes Scene 1 and 2 are intercut together and this makes it hard to accurately identify the value charge throughout the narrative.

Scene 1 : Int. Psychiatrist Office The scene starts off at the Psychiatrist in a positive way. He is talking to Sophie about her anger management problem and he is giving her guidelines to improve herself. This scene contains the character binaries of Antagonism vs. Harmony and Anger vs. Contentment. As the narrative progresses, these binaries are amplified. Sophie is becoming more relaxed and her anger is reduced. The value charge is positive throughout the scene. She fulfils the Harmonious and Contentment binaries in this scene.

Scene 2: Int. Home Affairs. This scene immediately starts off with a negative value charge. Sophie is agitated and annoyed and her ever increasing anger management problem keeps it negatively charged. This scene contains the narrative binaries of Constructive vs. Destructive and Submission vs. Resistance. As the narrative progresses and intercuts with scene 1, the value charge stays negative. She fulfils the Destructive and Resisting binaries in this scene.

53

Bibliography Arrested Development. Television Drama. Directed by Mitchell HURWITZ. Imagine Entertainment, 20th Century Fox Television, Hurwitz Company,. 2003-2006. DANCYGER, Ken. 2006. In: The Director's Idea The Path to Great, London: Focal press Elsevier. DEKOVEN, Lenore. 2006. Changing Direction. Burlington: Focal Press. Extras. Television Drama. Directed by Ricky STEPHEN MERCHANT. British Broadcasting Corporation (BBC), Home Box Office (HBO). 2005-2007. HAASE, Cathy. 2003. Rehearsals. In: Cathy HAASE, (ed). Acting for Film, New York: Allworth Press, pp.137-152. INSTITUTE, The Enneagram. 2007. The Enneagram Institute. [online]. [Accessed 23 October 2011]. Available from World Wide Web: <http://www.enneagraminstitute.com> Kitchen Confidential. Television Drama. Directed by David HEMINGSON. 20th Century Fox Television. 2005. LYNCH, Art. 2011. Communication Prof's News and Views: Art Lynch's Blog. [online]. [Accessed 18 October 2011]. Available from World Wide Web: <http://art-lynch.blogspot.com/2010/04/maslowshierarchy-of-needs.html> Modern Family. Television Drama. Directed by Christopher STEVEN LEVITAN. Levitan / Lloyd, 20th Century Fox Television. 2009-. The Office USA. Television Drama. Directed by Ricky GREG DANIELS. Reveille Productions, NBC Universal Television, Deedle-Dee Productions. 2005-. TOBIAS, Ronald B. 1993. Plot of the Mind. In: 20 Master Plots(and how to build them), Cincinnati: Writer's Digest.

Life is Hard "Typical" - Pilot Episode [1#1]

Written by Jenny-lee Schoeman

Adapted by Rowen Smith MARKED UP SCRIPT

DRAFT 5 - MARKED UP SCRIPT 02/11/2011 FINAL Shooting & Treatment Draft

COLD OPEN: 1.1

INT. PSYCHIATRIST'S CONSULTATION ROOM/COUCHES-DAY

1.1

Event Beat: The expository beat of the narrative: Sophie’s court ordered appointment at the Psychiatrist begins. SOPHIE sits on a couch facing the PSYCHIATRIST. She is clearly annoyed. Soft LOUNGE MUSIC can be heard from the patient waiting room. Subtext: The soft lounge music sets up a calm/relaxed environment. PSYCHIATRIST Sophie, you seem particularly agitated today? Sophie sighs and rolls her eyes. Emotion Beat: She does not want to actively participate this established her central character problem; She is resisting to change. PSYCHIATRIST (CONT’D) Let's pick up where we left off last week, I really feel like we were making some progress. Action Verbs: To fall asleep/sleepingly/ To be at complete control of your breathing/ Monotonous tone/ SOPHIE (snidely) Well doc, I just can't seem to shake the feeling that I'm being watched(beat)All the time.. She looks at the fish tank. The WATER PUMP SOUND is annoying her even more. Subtext: She starts to disconnect/ Fish Tank Sound overpowers scene/ Everything else becomes silent. PSYCHIATRIST Have you been using those tools we talked about or have we taken a turn to Negative Town again? SOPHIE Well, I mean there really is nowhere safe anymore is there? They've even got us registering our cell phones now! (MORE)

2. SOPHIE (CONT'D) We actually have to take time out of our busy day, drive to the "nearest" cellular outlet to provide them with all our personal information so we can sign away our God given right to privacy and telephonic drug purchasing!

Action Verbs: To hastily speak/ rusingly speaking / to rise and lower the emphasis/ To rudely explain PSYCHIATRIST (warningly) Manage that anger Sophie… SOPHIE (angry whisper) I mean who do these people think they are? The Psychiatrist is silently nodding his head with understanding. SOPHIE (CONT’D) …THEN they have the audacity to promote this painful process by delightfully naming it Rica and proceeding to brand the shit out of it by a guy dressed up in a giant cell phone suit to make friends with it? Emotion Beat: Her character flaw is revealed in the Pilot Title sequence - Depiction of Anger problems. CUT TO: A giant RICA CELLPHONE MASCOT walking in a mall. Sophie runs into frame and tackles the mascot with fury. PLOT TITLE: “Typical” FADE TO: 2.1

INT.HOME AFFAIRS-DAY

2.1

Proposition: The establishment of Home Affairs and Sophie’s narrative world. Subtext: The expository montage and accompanying music will relate to a South African audience. This montage will portray the poor and unhygienic and discomforting environment that Sophie finds herself in.

3.

Sophie's environment is not established immediately. As her tirade continues it is revealed that she is standing in a very long queue in the Home Affairs office. She is talking at a very confused looking ELDERLY BLACK MAN in front of her. The man and the people behind her have edged away from her causing the rest of the queue to stand cramped together. It is clear she has been talking for a very long time. Event Beat: Sophie is standing in a long qeue. This sets up the scene. SOPHIE …And THEN they boldly proclaim that we should count ourselves butt lucky that they provide this service of "Cell phone registration" entirely free of charge! I could even be lucky enough to win up to R5 in free airtime! [BEAT] Well no thank you and fuck-off. Action Verbs: To express, but to withhold./ Keep the intensity of the scene, but do not evoke any emotion../ let it come naturally. MCU-SOPHIE ON CAMERA Sophie is standing far away from the occurring events near the photo booth. SOPHIE (CONT’D) (to camera) I mean am I right ? Action Verbs: to breath it out/ To misunderstand. Emotion Beat: Sophie’s anger is rising as her day is getting worse. 1.2

INT. PSYCHIATRIST'S CONSULTATION ROOM/ACUPUNCTURE BED-DAY 1.2 Proposition: This is a different reality and it does not follow continuity of time with the Home Affairs events. The Aesthetic harmonious setting is established. Subtext: The calming and harmonious setting allows Sophie to open up. PSYCHIATRIST Tell me about the incident.

4.

2.2

INT.HOME AFFAIRS-DAY

2.2

Sophie is still standing, now slightly sweaty, in the queue, staring at the back of the head of the elderly man in front of her. Every now and then she exaggeratedly swats at a fly BUZZING around her head. Emotion Beat: She gets frustrated and agitated by the ehat and flies; a catalyst for her anger to rise Sophie's turn is up next and as she reaches the front, the clerk SLAMS the window shut and leaves for her lunch break. Sophie TAPS irritably on the glass. The CLERK is eating chicken vulgarly at a little desk across the counter and she points to a notice board reading the office hours. She SPITTINGLY SHOUTS at Sophie. Opposition: 1st Explosion: Sophie is denied by the clerk. CLERK One hour! Sophie collapses onto her arms on the counter. As she props herself up, her arm sticks to the counter. Subtext: This makes her even more frustrated and discomforted. Which amplifies the binary codes. Event Beat: Sophie is denied by the Clerk. 1st Explosion. Emotion Beat: She admits defeat, but this will not stop her from giving her opinion. 1.3

INT. PSYCHIATRIST CONSULTATION ROOM/FLOWER GARDEN- DAY

1.3

Opposition: Sophieâ&#x20AC;&#x2122;s problem is attacked. Now she moves away from her problem into a resolution. The Therapy scenes affect the protagonist's situation oppositely to the Home Affairs scene. SOPHIE And I mean I have been implementing all the new anger tools we've been talking about. You know like, reaching out to othersâ&#x20AC;Ś Subtext: The dialogue holds a lot os subtext: Sophie is reaching out to others, but in the wrong way. Action Verbs: To calm/ To speak every word clearly/ To submit to..

5.

2.3[1] INT. HOME AFFAIRS OFFICE- DAY

2.3[1]

Disgustedly, she turns to the LADY behind her. SOPHIE Can you believe what our country is doing to us right now? Action Verbs: To force perception/ To questionably demand. The Lady takes a step away from her as Sophie stares at the overly complicated directional notices on the information board. Escalation: She makes a bigger dramatic scene by involving the other patrons. Subtext: The directional notice baord has the Head of Dept.â&#x20AC;&#x2122;s face all over it. This is subtext for the reigning Government that is responsible for the weak public sector. Sophie tries to correct this by making comments and notes all over it. Suddenly Sophie leaves the queue and starts rummaging through her bag. She takes out her a permanent marker and walks over to the notice board and starts writing her opinion all over it. As she does this, she is hurriedly approached by a clearly distressed CLERK. Event Beat: 1st confrontation: Sophie is in an argument with the Clerk. Emotion Beat: a confrontation arises and Sophie defends herself, offending the staff of Home Affairs. CLERK Excuse me what are you doing? MCU-SOPHIE ON CAMERA SOPHIE (sarcastically) Excuse ME! What do you think Iâ&#x20AC;&#x2122;m doing... Action Verbs: to stretch out/ in disbelief/ disapproval. 1.4

INT. PSYCHIATRIST'S CONSULTATION ROOM/YOGA MAT-DAY Escalation: Sophie becomes more and more relaxed and understanding to how her problem affects others.

1.4

6.

Emotion Beat: She is relaxed and at peace. Subtext: The yoga session is a place for complete meditation and focus, which motivated the emotional relevance. SOPHIE …Replacing deconstructive behavior with constructive behavior. Action Verbs: To whisper/ speak while doing action- speak with effect of action - Yoga stretch. 2.3 [2] INT- HOME AFFAIRS OFFICE-DAY

2.3 [2]

SOPHIE I am helping you. Sophie continues rip notices off and write comments on the notice board. Emotion Beat: From the peaceful state, it intercuts with the opposite frustration and anger. 1.5

INT. PSYCHIATRIST'S CONSULTATION ROOM/ZEN GARDEN- DAY

1.5

Escalation: She overcomes a small hurdle: she assesses the situation correctly. Emotion Beat: A complete sense of understanding and calmness is evident in Sophie. Subtext: Sophie is raking the sand in a pattern. She is blocked by 2 stacked rocks. The psychiatrist instructs her to assess the situation. Sophie them moves around the rocks, instead of knocking them away... this is subtext for her, trying to overcome her anger. PSYCHIATRIST …Assessing the situation… 2.3[3] INT. HOME AFFAIRS OFFICE- DAY

2.3[3]

Action Verbs: To interrupt/ To Disrespect. Emotion Beat: Sophie’s anger management problem is now activated and in control of her. CLERK Miss, please refrain from touching those!

SOPHIE Why? Are they poisonous?

7.

1.6

INT. PSYCHIATRIST CONSULTATION ROOM/AA MEETING- DAY

1.6

Escalation: Sophie admits her problem with others, the first step to recovery. A bunch of people are sitting in a circular formation. Sophie is in between a SKINNY LADY and FAT MAN. SOPHIE (with everyone) …Applying reason before rage… 2.3[4] INT. HOME AFFAIRS OFFICE- DAY

2.3[4]

Escalation: The scene further escalates as Sophie still resists authority. MCU-SOPHIE TO CAMERA SOPHIE (to camera) Look, I'm just trying to redirect the traffic from this one immeasurable queue to several rather more measurable and less death inducing ones.. Action Verbs: To persuade/ To demandingly convince. Emotion Beat: Her emotive state is a a peak. She cannot control herself and she is now completely antagonised from everyone else. CUT TO: CLERK Miss, we need everyone to queue here first because sometimes people forget to bring the necessary documentation and... 1.7

SOPHIE What we have forgotten madam, are the faces of our loved ones and all our hopes and dreams for the future…

INT. PSYCHIATRIST'S CONSLULTAION ROOM/YOGA MAT -DAY

1.7

Event Beat: Sophie is starting to change. She is being Constructive at the psychiatrist, this amplifies the eventbinary : Constructive vs. Destructive. Sophie and the Psychiatrist are in a yoga stretch. PSYCHIATRIST …Being empathic..

8.

2.3[5] INT. HOME AFFAIRS OFFICE- DAY

2.3[5]

MCU-SOPHIE TO CAMERA SOPHIE (to camera) I can no longer remember a time before the back of that gentleman's head who, bless him, I am sure is going to die before we reach the end of this queue! The Clerk and the Elderly Black Man (who is within hearing distance of Sophie) stare aghast. As Sophie's rant becomes increasingly animated, the Clerk motions for security. Event Beat: Now back at Home Affairs: Sophie is Taken out by Security for causing unrest. SOPHIE (CONT’D) I implore you, let the unfortunate ones, the ones who forgot their "necessary shit" queue here until the Good Lord comes to take them home, but for the love of all things mortal let the rest of us go! I'm asking you to be a hero here! Let me do the people's work! Emotion Beat: The climactic emotional apex. She loses the argument with the Clerk. 1.8

INT. PSYCHIATRIST'S CONSULTATION ROOM/ACUPUNCTURE BED-DAY 1.8 Event Beat: Sophie is developing as her therapy sessions progress. Subtext: She refers to her religious views, which implies that Sophie would do what Jesus would do, but in reality, she does the opposite. She confronts and offends. SOPHIE …You know, regular What would Jesus do stuff.. Action Verbs: To be at peace. Sophie lifts up her arm and wiggles her WWJD bracelet.

3.1

INT. HOME AFFAIRS OFFICE- DAY

3.1

9.

Complication: The climax starts as she is dragged out by security. Her character binaries are fulfilled as she antagonized herself at Home Affairs. By now SECURITY has physically begun removing Sophie from the building. The queues of people are staring bewildered yet relieved. Subtext: She screams and shouts while being dragged out of Home Affairs. The dialogue suggests that Sophie actually needs Home Affairs. She accepts that she needs the system. SOPHIE No Wait! I need a new ID! I have to Rica my phone! You can't remove me! This is my home, and I have affairs! Event Beat: Sophie is rushes out by security. She protests and causes a dramatic scene in Home Affairs. CLIMAX Emotion Beat: Sophie is dragged out, She gives her final opinion of what she thinks of Home Affairs, her character binaries has forced her into anger and resistance. MCU-SOPHIE TO CAMERA SOPHIE (CONT’D) (to camera) This is my.. I have affairs ! 1.9

INT. PSYCHIATRIST'S CONSULTATION ROOM/COUCHES-DAY

1.9

Complication: Her problem is faced head on. It looks like she overcame her problem. Thus , she has recovered. Event Beat: This is the resolution to the event narrativeSophie is back where she started, on the couches, talking to the psychiatrist. There is an awkward SILENCE. The Psychiatrist CLEARS HIS THROAT… PSYCHIATRIST So uh Sophie, is there anything you can take away from this session? SOPHIE (sighs) I suppose sometimes society expects certain behavior from you. And well maybe sometimes it would be easier to just, you know, go with it…

10.

Action Verbs: To re-assure and submit to a higher wisdom. PSYCHIATRIST Wow Sophie, that's really incite… MCU-SOPHIE ON CAMERA. SOPHIE (to camera) But I mean there are really only so many times you can stand the scab being ripped off your healing wound of logic! Emotion Beat: Now she is submissive to what the Psychiatrist actually wants to show her. She trust his guidance. 3.2

EXT. HOME AFFAIRS BUILDING-DAY

3.2

Revelation: Sophie is arrested and she did not get what she wanted at Home Affairs, all thanks to her central character problem: Anger management. Subtext: The building is trashed and wrecked. This is done out of vengeance by Sophie The following day. The whole exterior of Home Affairs is wrecked and trashed with toilet paper and rubbish all over the place. Sophie scratched all over the DEPARTMENT HEAD OF HOME AFFAIRS’s FACE with a permanent marker. 1.10

INT. PSYCHIATRIST'S CONSULTATION ROOM/COUCHES - DAY

1.10

Revelation: This revelation flips the entire recovery process on its head. WE assumed that she recovered, but this shows that her central character problem is still with her.

MS-SOPHIE ON CAMERA SOPHIE Booyah. Anger(beat), managed. Action Verbs:

To confidently provingly confirm. FADE TO BLACK.

Floor Plan Breakdown • • • • • •

Scene 1.1/1.9/1.10 Scene 1.2/1.8 Scene 1.3 Scene 1.4 /1.7 Scene 1.5 Scene 1.6

INT. Psychiatrist Consultation Room- Couches INT. Psychiatrist Consultation Room- Acupuncture Bed INT. Psychiatrist Consultation Room- Flower Garden INT. Psychiatrist Consultation Room- Yoga Mat INT. Psychiatrist Consultation Room- Zen Sandbox INT. Psychiatrist Consultation Room- AA meeting

• Scene 2.1/3.2 EXT. Home Affairs - Day Shots :13-15/62

• Scene 2.1/2.2/2.3[1-5]/3.1 INT. Home Affairs - Day Shots: 16- 21/24-30/34-38/40/44/46-47/49,50/52-56 Approximate Shooting Period : 23H15min

Shots: 1- 11/57-61/ 63 Shots: 22,23/51 Shots: 31- 33 Shots: 39/48 Shots: 41 - 43 Shots: 45

General Overview of INT. Psychiatrist Consultation Room

INT. Psychiatrist Consultation Room Jukebox Acupuncture BED

Flower watering garden area

ZEN â&#x20AC;&#x201C; Sand Box

YOGA MAT AREA

Fish tank

Group cicle

entrance

INT. Psychiatrist Consultation Room

Scene 1.1/1.9/1.10 - Couches

KEY

Sophie

Flower garden Psychiatrist 1.1# 3 1.1# 9 1.1#11 1.9 # 58

Track Back and forth

Camera

1.1# 5 1.1# 8 1.9 # 61 1.10 # 63

1.1# 1 1.9 # 57

1.1# 6 Fish tank 1.1# 7

1.1# 2 1.1#10 1.1# 4 1.9#59,60

entrance

Shots: 1 – 11 / 57 – 61 / 63

Shooting Time Approx: 180min

INT. Psychiatrist Consultation Room

Scene 1.2/1.8 - Acupuncture Bed

Jukebox

KEY

Sophie Acupuncture BED

Psychiatrist 1.2 # 23

Camera 1.8# 51 Birds Eye

1.2# 22

entrance Shots: #22, #23 , #51

Shooting Time Approx: 60min

INT. Psychiatrist Consultation Room

Scene 1.3 - Flower Garden

1.3# 33

KEY

Sophie Psychiatrist

Camera 1.3# 31 1.3 # 32

Flower watering garden area

Shots: #31- #33

Shooting Time Approx: 45min

INT. Psychiatrist Consultation Room

Scene 1.4 /1.7 - Yoga Mat KEY

sculptures

Sophie Psychiatrist

Camera

Small Pillow chair

Stretches out

Yoga Mat 1.4 # 39.2 1.7 # 48.1

Shots: #39, #48

1.4# 39.1 1.7 #48.2

Shooting Time Approx: 45min

INT. Psychiatrist Consultation Room

Scene 1.5 - Zen Sandbox

KEY

Sophie Psychiatrist

Camera

1.5 # 41

1.5 # 43

1.5 # 42

Shots: #41 - #43

Shooting Time Approx: 45min

INT. Psychiatrist Consultation Room

Scene 1.6 - AA meeting

KEY

Sophie Psychiatrist

Camera Extras

1.6# 45.2

Shots: #45

1.6# 45.1

Shooting Time Approx: 30min

EXT. Home Affairs â&#x20AC;&#x201C; Day

Scene 2.1/3.2 3.2 # 62 2.1 # 15

KEY 2.1 # 13 2.1 #14

Hawker stall

Sophie Featured Clerk Black Man Security

S

Extras Camera

Shots: #13,#14,#15 #62

Shooting Time Approx: 30min

INT . Home Affairs â&#x20AC;&#x201C; Day

Scene 2.1/2.2/2.3[1-5]/3.1 Entrance KEY

# 52

# 54

2.1 # 21 #38 #46 #49 #56

# 55 # 53

2

Black Man Security

S

Extras Camera

2.1 # 17 2.2 # 28

Sophie Featured Clerk

2.2 # 29

ID Photo Booth

1

2.2 # 26 2.2 # 24 2.1 # 18

3

# 35 #36

2.1 # 16 2.1 # 19 2.2 #25 2.2#27 2.1 # 20 2.2#30 #34

# 37,40,44,47,50

Shots: 16- 21/24-30/34-38/40/44/46-47/49,50/52-56

Shooting Time Approx: 16 Hours