ESCALATOR REMAINS THE SAME—Whitgift Centre.
Our “FLOWERS” story, which takes place on a mall ESCALATOR, on…
…VALENTINE’S DAY. Where we will open on a MEDIUM PROFILE and the camera will PULL BACK…and BACK, until we see all ALL FIVE of our LADS, with identical haircuts, identical date clothes and identical sad-looking flowers. And it is in that moment that ALL—in SYNCHRONICITY—SWITCH the FLOWERS to their RIGHT HAND and ADJUST their HAIR with their LEFT HAND. Which will be so funny…
…we should also shoot it to run during MOTHER’S DAY.
That’s what we’ll shoot in the morning. Then we’ll get in the car and head over to…
BACKUP LOCATION—19 Carlyle Road.
…our KITCHEN, to shoot the front half of “FISH.” Which starts on a CLOSE-UP of a WHOLE SEA BASS on a WOODEN CHOPPING BOARD and CUTS…
…to our DAD, standing behind a BUTCHER BLOCK KITCHEN CART, staring down at the FISH with great uncertainty. And when he looks to his LEFT…
…the CAMERA…
…PANS over to the…
…WIFE and DAUGHTER, looking equally uncertain. Both…
…SHOO him with their hands, in a this-is-your-responsibility-so-get-to-it gesture. And the camera…
…PANS back to the DAD…
…who grudgingly looks from his WIFE and DAUGHTER back down to the…
…FISH.
ESCALATOR REMAINS THE SAME—Whitgift Centre.
Our “FLOWERS” story, which takes place on a mall ESCALATOR, on…
…VALENTINE’S DAY. Where we will open on a MEDIUM PROFILE and the camera will PULL BACK…and BACK, until we see all ALL FIVE of our LADS, with identical haircuts, identical date clothes and identical sad-looking flowers. And it is in that moment that ALL—in SYNCHRONICITY—SWITCH the FLOWERS to their RIGHT HAND and ADJUST their HAIR with their LEFT HAND. Which will be so funny…
…we should also shoot it to run during MOTHER’S DAY.
That’s what we’ll shoot in the morning. Then we’ll get in the car and head over to…
BACKUP LOCATION—19 Carlyle Road.
…our KITCHEN, to shoot the front half of “FISH.” Which starts on a CLOSE-UP of a WHOLE SEA BASS on a WOODEN CHOPPING BOARD and CUTS…
…to our DAD, standing behind a BUTCHER BLOCK KITCHEN CART, staring down at the FISH with great uncertainty. And when he looks to his LEFT…
…the CAMERA…
…PANS over to the…
…WIFE and DAUGHTER, looking equally uncertain. Both…
…SHOO him with their hands, in a this-is-your-responsibility-so-get-to-it gesture. And the camera…
…PANS back to the DAD…
…who grudgingly looks from his WIFE and DAUGHTER back down to the…
…FISH.