Next up in the Movie Making segment is the visual treatment for my still untitled short story.
So, check out my visual treatment and stay tuned as the real preparation for production gets underway. Weston Davis’ bloody face falls into the frame, the back of his head hitting the pavement. The screen again transitions to another scene by fading to white, landing on the couple walking down the street at twilight holding hands and talking affectionately.
The white fade re-materializes at a party, music playing, people talking loudly, and the couple standing together looking very out of place. The shot then follows the life of the party, Mike, as he makes his way through the crowd.
A quick scan of the room lands on a group of people sitting around a desk in the corner of the small room.
The memory goes hazy, not fully fading to white as the images of drug use are barely visible in the picture.
An out of focus medium shot of the two eating dinner as Kara asks Weston why he seems so distant lately. The white materializes to the camera following a couple from behind walking down a sidewalk on a dark evening. The scene again fades and reassembles with Mike and Weston sitting at the desk in Mike’s room, celebrating their heist. The scene fades to a close up of Weston sitting in his dark room on his own, tears in his red eyes. The memory flashes to a shot of Weston squatting in a parking garage next to a car, a black mask not yet pulled down over his face. The camera zooms into his face as he pulls off his mask in shock for what his partner is doing. Team Building and Events movie making team building event is a fun and interactive activity suitable for everyone regardless of their age, level of fitness or physical abilities. Many of you know her as a writer on the Movie Mash, and she goes by the name Sarah Williams. Surprisingly, after 20+ responses in under three days, I definitely have a variety of actors to chose from.
The couple’s faces are seen to show their comfort level with one another, and the love between them. As he passes women in the room, he stops to talk to them or uses his hands to say hello inappropriately. A desk light is the room’s only light source, the music of the seemingly distant party softly playing in the background. The white dissipates to the same close up of Weston over a line, this time more confident as he quickly sniffs it up.
Kara is holding a bag of white powder, the camera in a medium shot to show both the drugs and her upset face. The door opens to reveal Mike, who welcomes Weston in with a few words of encouragement after being kicked out by Kara. He is sitting at a desk, begging Kara for another chance, the white powder sitting at his side. A medium wide shot will show the two screaming, reeling, desperate for the drugs their bodies need. They stole their way to the next fix, and this is resembled with close ups showing the triumph of Mike’s face and the despair in Weston’s.

As the victim struggles, the camera is back to a medium shot of Mike slamming her head into the trunk. This process helps me in the future when I try to write the script, draw out story boards, and translate the words into images. Any good screenwriter in the business will tell you this is the way to go about it; my progress on my fourth re-write is a little stagnant as of this point.
She has experience in production like myself; we actually met in a production class at the University of Minnesota. As he closes his eyes, white fades in and consumes the screen as his life flashes before his eyes.
As Weston convinces Kara to go to the party, a close up will show the contrast in the character’s faces. Unlike the other occupants in the room, Weston and Kara have no drinks in their hand and their faces mirror their lack of comfort in their surroundings. He finally makes his way to the couple, the camera low at his chest looking up at the pair.
Weston and Mike’s faces are the driving visual in this scene as the two go back and forth, Mike pressuring his friend to liven up a little. The pairing shot of Weston is also a medium shot so his hand gestures to defend his position are apparent. A medium close up of Kara is shown on the other end of the line, sitting on her couch alone, wrapped in a blanket. As she tries to close the door on him, the close up shot shows Weston’s foot wedged in the opening. The shot will also show how bare the apartment has become, the care of the place’s occupants gone with their drug immersion.
They turn to run towards the camera, but then another man jumps in front of the camera, and over the shoulder showing the trapped look on the couples’ faces. As Mike readies the drugs, the sadness leaves Weston’s eyes in anticipation of getting his next hit. The shot switches to a close up of a picture he is holding, a distant memory of him and Kara holding each other, happiness across their faces.
A woman’s footsteps can be heard echoing in the garage, and the pair then puts on their masks.
He then reaches again for her crotch, hastily trying to pull up her dress and get off her underwear.
By displaying wallpapers on this site there is no intention to infringe any legitimate intellectual right, artistic rights or copyright. The visual treatment isn’t as important as the short story, or the script, but this step helps get the creative juices flowing as I move on.
To filter through this talent, I am holding auditions for the roles this upcoming Friday, March 4th.
As the white dissipates,  the images quickly jump from Weston as a baby, to a toddler, to a young child, to a teenager, and finally to the moment he first tells his girlfriend Kara he loves her for the first time. As the prospect of doing drugs is first introduced, the camera has the small pile of white powder and its accompanying ‘lines’ in the foreground, Weston staring at it in the background.
He is really trying had to lie; his discomfort and lack of expertise in the manner will be shown by body language. The tracking camera follows them from behind, the woman with her back turned in the background. If you are the rightful owner of any photo or images posted here, and believe that it should not be displayed or that suitable credit is required, then please email the webmaster and arrangements will be made for the image to be removed or alternatively credit provided where it is due.

Sarah and I will sit down and watch these actors do their thing and see if they can morph into the characters I created.
All the shots of childhood are vague, maybe out of focus, signifying Weston’s difficultly to remember specifics from his younger years.
As he is convinced to try the drug, the camera focuses on the the cheering onlookers and their positive energy. The shot changes to a close up on Kara from Weston’s perspective, looking down on ‘the weaker sex.’ Kara pops back up, and tries to shove him out the door.
As the two near the woman, the man on the right veers to another aisle to flank their victim. As he runs past through the frame right to left, Weston turns to his left and fires the gun weighing down his pocket in the direction.
This event is not only an excellent team building tool but also provides great entertainment when the movies are viewed at the end of the day and rewards given. The shot of Weston and Kara will be clear, and be shot in close ups conveying the intimate relationship of the couple.
As he convinces Weston to come with him, the camera follows the two from behind and circles them showing their faces once they enter Mike’s bedroom. As Weston leans over to the table to snort the powder, the shot is real close on his face and his reaction to his first taste of the drug.
The man in the middle reaches the woman first, taking his gloved hand and snuffing the scream out of her mouth. An over the shoulder medium shot from Weston’s perspective reveals the victim’s face as she turns towards him. An over the shoulder of Weston shows Mike slowly turning around, Kara in the background of the shot. The camera circles from Weston’s back to his face, the shock of what he just did to Kara ingrained in his features.
He takes out his knife, a close up will show it facing backwards, and uses the butt end on his victim’s head. As she wobbles, the camera goes to a medium wide shot as he supports her as she stumbles, and then bends her over the trunk of a car. The camera switches to a wide shot of Weston spearing through Mike, but in the scuffle Mike ends up on top.
As Weston turns to walk out, his mind in disbelief for what he just did, the camera is low to the ground from Kara’s perspective watching him leave through the door.
As Mike grabs around her crotch, the camera jumps to a medium shot of Weston turning around a pillar from his strategic angle.
A medium shot will show Kara as she turns to run away, but then turning back to see Weston’s face as her unknown hero.
He too topples over, and the shot changes to the same close up from the beginning of the film, a close up of his head hitting the pavement.
Close ups of the Kara and Weston’s faces go back and forth as the two exchange their final dialogue. The camera still in the wider shot, it zooms in as Weston seizes his opportunity to take the upper hand and grabs Mike around the throat and chokes him mercilessly. After Weston dies, a medium shot tracks away from the couple, down the garage, and then the scene fades to black.

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