digital’productionbinder’checklist’cloud2.snappages.com...shotlists’(including’shooting’order’list)...

Digital Production Binder Checklist By meeting weekly deadlines and deliverables, and through the provided resources, examples and templates, each student will generate a digital production binder for their proposed Senior Studio Project. A checklist of required elements is below. Note: If you would like to take a look at the student sample, please refer to Document Sharing in eCompanion. ❏ Script/Treatment Development and Research (including drafts and final version) ❏ Budget (not just a template, but a working version!) ❏ Locations Information (for each location) ❏ Permissions Information (including all release templates and any permitting information) ❏ Storyboards (fiction, if available) ❏ Shot Lists (including shooting order list) ❏ Script Breakdown (broken-‐down script AND Script Breakdown pages) ❏ Production Schedule (in Stripboard format) ❏ Call Sheet Template ❏ Crew List (including contact information) ❏ Gear List ❏ Character Breakdowns ❏ Potential Cast Head Shots (fiction) ❏ Production Design/Art Direction Information (including Tone Notes) ❏ Marketing and Distribution materials Digital Production Binders will be presented to the instructor on the last day of class via thumb drive or portable hard drive at an individual meeting to be scheduled. Due: Week 11

“Betta” is my dramatic short film about Dylan, an 8-‐year-‐old boy with selective mutism, who wants to free his pet fish into the ocean. However, his mom, as well as his innocence, stops him every step of the way.

The film opens with Dylan carrying his pet Betta fish in a mason jar. He barges into the bathroom where his Mom is preparing for a date with her new boyfriend. Dylan is taking his fish for a “walk”, in the toilet. After a struggle, Dylan runs into the living room where he encounters Mom’s boyfriend, who plants the idea that the “ocean equals freedom” for his pet fish. Although Dylan chooses to not use words, he asks his mom to go to the ocean, through drawings, which falls on deaf “ears”.

Dylan decides to embark on his own. He plans out his route, closes his piggy bank savings account with the assistance of a pair of “Hulk fists” and sneaks out of the house to ride his bike to the ocean. He wrenches off the training wheels and pushes off. He relishes in his newly acquired freedom, which is stopped quickly by his inexperience, and he crashes before he reaches the end of the block. Mom witnesses the incident and rushes to make sure Dylan is OK, followed by her frustration with his unwillingness to speak. She grounds him to his room until he is ready to speak again.

In the final scene, Mom realizes what Dylan was asking for initially and goes to his room to suggest a trip to the beach. Simultaneously, Dylan has developed a new plan to get his fish to the ocean: flushing it down the toilet.

“Betta” is a coming-‐of-‐age film about letting go, told from the perspective of a young boy who is dealing with the loss of a parent. Like each of us, Dylan deals with grief in his own way; he holds onto the pet fish given to him by his dad. Over the course of my film, Dylan realizes his desire to move on, although he isn’t mature enough to understand the change happening within him.

THIS IS HUMOROUS

1. Who/what/when/where/why a. Who are the main characters?

Billy, 8yo is the main character, introverted, non-‐verbal and Mom, 30s, loving, worrisome, controlling.

b. What is their situation? Billy is taking his too-‐small-‐for-‐him bicycle out for a ride and is nearly hit by a car, Mom witnesses this and stops him from going any further because he scared her. Previously he made a choice to take his pet fish to the ocean to release it, and the scene goes into his planning for his next attempt.

c. When is this happening? Present day, summer, afternoon

d. Where is this taking place? On a suburban street in front of the house where Billy lives with his mom.

e. Why should anyone care? Billy rides a bike with training wheels that is too small for him. It should be obvious that he is stepping out of his comfort zone and for the first time in the course of the story, he is making a decision to take the audience on a journey with him.

2. Action and character a. What is routine and characteristic?

Suburbia and repetition of houses can be shown simply by being the location. What is revealing is that Billy has not used his bicycle since he was smaller/younger. He is breaking his pattern by attempting to use it as a means of transportation to go on his journey. Mom reveals that he is non-‐verbal and that him stepping out of her comfort zone is not OK.

b. What is surprising or special? The fact that he’s not as ready to embark out on his own as he thinks.

c. What patterns lie in the situation? Suburbia, traffic and everyday life. Billy’s actions conflict with these patterns because he is a little kid on a bicycle who doesn’t understand the danger he is facing until he is nearly struck by a motorist who isn’t paying attention to the newly introduced variable.

3. Will and conflict a. Volition: What’s your main character trying to get, do, or accomplish?

Immediately he wants to free his pet fish to the ocean, long term, he wants to become free of his overprotective mother.

b. Obstructions: What in general stops him? His mother and his inexperience with the world.

c. Conflict The single central conflict is Billy vs. Mom.

d. Strategies: How might he deal with each new obstruction? He takes each new obstruction as a cue to step further outside of his norm, to try something new. When his training wheel is in the way and breaks, he uses a wrench to take it off. When he almost runs into a vehicle, he swerves to miss it, but ultimately fails and breaks his bike.

e. Resolution He ultimately fails. I don’t see another outcome, so if changes become necessary, the end result should be the same, because if he succeeds, the movie goes into different territory which could potentially be much more expensive and change the tone of the movie entirely.

4. Structure a. Hook: How will you engage your audience?

The film opens with Mom lifting the toilet seat to see “Thalia”, Billy’s fish, swimming inside. The contract is signified by Billy’s request to go to the ocean falls on deaf ears.

b. Momentum: What will structure your sequences and drive your film forward from beginning to its end? The desire of Billy to free his fish will drive the film.

c. Time: How will you order it? Using 3 act structure with an intro, rising action and resolution

d. Apex or crisis At this point, I don’t see that I have a high point. The biggest crisis is when Mom takes away any possibility of Billy continuing his journey, which I have considered his lowest point.

5. Change, growth, and resolution a. Who has the potential for change?

Both Billy and Mom have the potential for change and should. Billy is taking risks and Mom is stopping him and attempting to bring him back to her ideal world.

b. Confrontation Billy is a boy with a desire to grow up and Mom is his overbearing mother who isn’t willing to let that happen. It will happen onscreen because they are the two main characters and I don’t have anything else to work with.

c. Growth Billy has the most potential for growth because he is young and inexperienced. I’m not sure how I could intercede in this story. The characters need to hash this coup out on their own.

d. Resolution The outcome where Billy doesn’t succeed seems the most likely.

The other outcome is where he does succeed. My film end meaningfully by allowing Billy to use the same means of getting his fish to the ocean as he was initially warned about at the beginning of the story. As a result he achieves his goal, though not in the way he had originally hoped. A byproduct of his attempts is that his mom also has the potential to learn that he can’t stay under her wing forever.

6. Audience, impact, theme a. Target audience: Whom in particular are you addressing?

Parents and children. b. My audience must feel…

Empathetic towards either Billy or Mom, depending on the (mental) age of each audience member.

c. My audience must think about… That in Billy’s mind, he believes that his fish will make it to the ocean rather than killing it.

d. The theme of my film will be… Freedom is not given away, it’s taken.

Research:

During the formation of my story, I decided to I make my young protagonist unable/unwilling to speak as a result of the sudden loss of his father. I don’t know what gave me this idea, other than I seem to remember a news story or something else where this was possible. Other than that, I have had confirmation from a few of my peers that this didn’t seem impossible.

What I have learned:

The speech disorder I have employed in my story is called Selective Mutism.

According to Wikipedia, this is a popular character element in stories and movies and the proceeds to give a list of several novels in which a character suffers from this affliction. I never thought I was being original, but I hadn’t realized the extent of use of the device. (http://en.wikipedia.org/wiki/Elective_mutism) (http://en.wikipedia.org/wiki/Selective_mutism)

According to previous versions of the DSM (Diagnostic and Statisical Manual of Mental Disorders) it was once thought that having an overprotective mother predisposed children to SM, as well as a result of trauma. According to the most recent editions of the manual, there is no evidence to support either of these claims. Most often the disorder occurs in children as they enter elementary school and my hope to insist a 10 year old would have this is falling flat. (http://www.selectivemutismfoundation.org/dsmgraph.shtml)

Dylan, 8 years old, wears some Silver Surfer pajamas and carries an empty mason jar. He walks through a hallway and barges into a bathroom where Mom, a woman in her 30s, stares into the mirror and applies mascara. She is dressed for a night on the town. Dylan heads straight to the toilet, opens the lid and reaches inside with the jar and his empty hand. Mom’s cellphone rings, she answers and sees Dylan with his arms in the toilet. Dylan splashes around. She learns that the babysitter is cancelling on her as she pulls him away from the toilet. In the struggle, the cellphone falls from her ear into the bowl as he pulls out the jar, which now has Saku, his pet betta fish, inside. Mom reacts and reaches for the phone as Dylan runs out of the room.

Dylan enters the living room where Seth, 30s sits on the couch in front of a coffee table with sheets of paper (some with crayon drawings), some scattered crayons, and the lid to the jar. Dylan kneels at the table opposite from Seth and screws the cap onto the jar and wipes his hands on his clothes. Seth has a one-‐sided conversation with Dylan about his fish and asks if he has ever been to the ocean; Dylan looks at Seth and then ignores him. Dylan brings Saku’s jar up to his eye level and looks inside. Mom enters and approaches Dylan with a container of handi-‐wipes. She takes the jar, sets it on the table and pulls him by his arms, standing him up. She proceeds to overzealously clean his hands and face while speaking with Seth about their date and tells him that she has to cancel. He suggests hanging out there; she looks at Dylan and says that she doesn’t think it’s a good idea. Mom walks Seth to the door as Dylan draws on a sheet of paper with a crayon. Seth tries to say goodbye to Dylan, but is ignored. Mom shuts the door as Seth leaves. Mom sits on the couch, opposite Mason and tells him that Seth is not meant to replace his Dad. He hands her the drawing he was working on and waits for a reaction. Mom looks at the drawing and tells him “it’s very good” and walks toward the kitchen.

On the refrigerator door is a drawing depicting Dylan, Mom and Dad, who wears a fisherman’s outfit and holds a fishing pole. She places the new drawing on top of the old one, which depicts Dylan holding Saku and Mom at the beach on a sunny day. The placement of Dylan and Mom are in the same place and Saku is where Dad is in the old drawing. Dylan watches Mom walk away; she takes off her heels as she walks away leaving him alone.

The next day, Dylan is inside his room, sitting at his desk and examines a map of Oregon. He measures the distance between Portland and the West coast with his thumb and forefinger. He brings the measurement up, and peers through it with one eye at Saku. He picks up a piggy bank, holds it up to his ear, shakes it and listens to the sound of coins. He places the bank on his desk, walks away and returns wearing some green “Hulk Fists”. He raises his hand above his head and attempts to smash the bank open. The bank is unaffected. He tries again with the same result. He tosses the fists aside and turns the bank over, revealing a stopper, which he unplugs and spills a small amount of coins and dollar bills onto his desk.

Inside the garage, Dylan works on removing the training wheels from a bicycle. He picks up Saku’s jar, then puts it inside a backpack, which he pulls over his shoulders.

Outside, the garage door opens to reveal Dylan sitting on top of a too-‐small-‐for-‐him bicycle, wearing a helmet and his backpack. He kicks off, exits the driveway and rides into the street. Mom sees him through a window and rushes toward the door. Dylan rides as if it’s his first time. Mom runs into the street after him. A car pulls out of a driveway in front of him, he panics and rides into some bushes. Mom rushes to where he fell and stands him up, feeling for broken bones and sees that he is all right. She is now furious and tries again to get him to speak to her. Instead he reaches for his bicycle, she pulls it away from him and kneels down to his level. She talks about Dad and reminds him that he isn’t here anymore. He looks behind her and sees a storm drain with the words “drains to river” stenciled above it. She tells him he is not allowed to leave his room until he is ready to have a conversation with her.

Inside his room, Dylan leans over his desk and examines the map again. He traces his finger over the Columbia River to where it empties into the Pacific Ocean. He picks up the jar, unscrews the cap, and raises it to eye level. He looks at Saku one last time then takes the jar out of the room. A toilet flushes and he returns with an empty jar, which he absently places back on his desk.

In the kitchen, Mom stands in front of the open refrigerator and holds a wine cooler. She opens it, takes a gulp and forcefully closes the door. Dylan’s drawings fall to the floor. She sets the bottle down, picks up the drawings, and looks at them. She holds the new drawing with Mom, Dylan and Saku then flips to the old drawing with Mom, Dylan, and Dad. She realizes what Dylan was initially trying to tell her.

In his room, Dylan lies face down on his bed. Mom knocks, enters, and sits beside him. She places her hand on his back and suggests the two of them go to the coast this weekend. He sits up and nods an “OK”. She mentions that Saku might like to come and she sees the empty jar on the desk. She asks what happened to Saku. Dylan stays silent and after a beat, reaches his arms around Mom and embraces her. She hugs back and he finally speaks: “He’s gone to the ocean.”

POV shot moves through hallway, into the bathroom, then looking into the bowl of the toilet. Saku is inside. The toilet flushes.

Motion graphics transition from scattered letters to read:

Written and Directed by

Robert E. Valdez

The End

Betta

By

Robert E. Valdez

Final Draft 6/14/11 [email protected]

(505) 553-8126

INT. HALLWAY - EVENING

DYLAN, 8 years old, is wearing pajamas and carries an open

mason jar that holds SAKU, his pet betta fish, in water.

He walks through the hallway and arrives at a cracked open

door.

INT. BATHROOM - EVENING

Dylan pushes the door open and heads straight for the

toilet. He pours the fish and water into the toilet.

MOM, late 30s is dressed for a night on the town. She stares

into the mirror as she applies mascara.

Dylan peers into the toilet. She sees him.

MOM

Dylan! How many times have I told

you?

She moves toward Dylan and reaches for his shoulder

MOM (CONT)

Saku doesn’t need to go for a walk,

he might get flushed!

Her cellphone RINGS, she hesitates, then stops to answer.

MOM

Hi Beth-

She holds the phone with her cheek against her shoulder and

grabs the jar from Dylan. She reaches into the toilet with

the jar and her bare hand.

Dylan tries to keep her away from the bowl.

She tries to fish Saku out of the toilet.

MOM (CONT)

Oh no...are you sure? There’s no

way you can make it?

Her cellphone drops into the bowl. She releases the jar.

MOM

Dammit!

Dylan reaches inside and the pulls out the jar which now

holds SAKU, his pet betta fish. He holds the jar close up to

his eye level and peers inside.

(CONTINUED)

CONTINUED: 2.

MOM

Dylan!

She reaches for the phone. He runs out of the room.

INT. LIVING ROOM - EVENING

NATURE PROGRAMMING is heard on the TV.

Dylan kneels down at the coffee table which has some sheets

of paper, an open box of crayons, and the lid to the jar.

SETH, early 30s, sits on the couch, opposite Dylan. Dylan

screws the lid onto the jar, places it on the table, and

wipes his hands on his pajamas.

SETH

Hey buddy!

Dylan looks at Seth, then grabs a crayon and starts drawing.

SETH

Have you ever been to the ocean?

Seth motions toward the TV.

SETH

Look at how free they are.

Dylan looks up at Seth, then the TV.

INSERT: TV with nature programming of fish.

SETH (V.O.)

I bet your fish would have a blast

out there.

He picks up the jar and holds it in front of the TV.

Mom approaches Dylan holding a container of handi-wipes. She

grabs the jar, sets it on the table along with her dripping

cell phone.

MOM

Babysitter canceled.

She pulls Dylan up by his arms, standing him up, and kneels

in front of him. She obsessively cleans his arms and face.

Dylan squints and turns his head to keep her hand away.

(CONTINUED)

CONTINUED: 3.

SETH

Aw, man. Well, we can stay

in...order pizza. What do you say,

Dylan?

Mom stops scrubbing. She raises Dylan’s chin and looks at

him for an answer. Nothing.

MOM

Some other time?

Mom walks toward the door. Dylan drops to his knees, grabs a

crayon and begins drawing.

Seth gets up and walks to the door.

SETH

Have a good one Dylan.

Dylan ignores him, continues drawing.

MOM

Dylan, don’t be rude. (to Seth)

Worth a shot.

Seth moves in for a goodbye kiss. As if she is about to

accept it, Mom closes her eyes for a moment, then turns her

head at the last moment. Seth gets more cheek than lips.

She looks at Dylan, he turns his head away quickly back to

his drawing.

MOM

(to Seth)

I’ll call you?

Seth nods half-heartedly, turning away. She closes the door

behind him.

Dylan moves his face closer to his drawing, concentrating.

Mom sits on the couch.

MOM

I hope you don’t think that Seth is

trying to replace Dad. He’s- it’s

just...nice to have someone around

who’s my own age, you know?

Dylan presents his drawing.

(CONTINUED)

CONTINUED: 4.

MOM

Whatcha’ got there?

She takes it.

MOM

Hey, look at that! You’re getting

so good, honey!

INT. KITCHEN - EVENING

INSERT - Refrigerator door with crayon drawing depicting

Mom, Dylan and Dad wearing a fisherman’s outfit and holding

a fishing pole. They stand on a pier with a crab boat in the

background.

Mom places the new drawing on top of the old one and places

a magnet on top.

INSERT - Crayon drawing with similar placement of Mom and

Dylan with Saku in his jar, in place of Dad. They stand on a

beach with the ocean, a sailboat, a lighthouse, and a shark

fin in the background

Mom takes off her heels as she walks away, leaving Dylan

alone. He stares at his drawing.

INT. BEDROOM - DAY

The room has posters, action figures, and everything an

8-year-old boy could possibly want.

Dylan wears jeans and an "Incredible Hulk" T-shirt. He

stands on a chair in front of a US map hung above his desk.

He measures the distance between Portland, OR and the West

coast with his thumb and forefinger. He holds the

measurement and peers through his fingers with one eye at

Saku in the jar on his desk.

The door opens.

MOM

Dylan, I’ve told you I don’t want

this door closed. (suspiciously)

What are you up to?

Dylan hops off the chair and gets a pinch of fish food and

drops it into Saku’s jar.

Mom eyes him as she turns and walks out the door.

(CONTINUED)

CONTINUED: 5.

He watches her leave then picks up a fish coin bank and

holds it up to his ear. He shakes it and listens to the

sound of COINS. He places it on the desk.

He wears safety goggles and uses a plastic hammer on the

bank. Nothing happens.

JUMP CUT TO

He wears a "Karate Kid" bandanna. He marks his spot with a

slow chopping motion.

He chops hard at the bank. He grabs his hand and winces in

pain.

JUMP CUT TO

He pops up from behind the desk, wearing a lucha libre mask

and "Hulk" fists. He raises his arm and pounds at the bank.

The fists make a "HULK SMASH" sound on impact. He knocks the

bank on its side revealing a rubber stopper.

He pulls the mask off and tosses it and the fists aside,

removes the stopper and spills a small amount of change and

dollar bills onto the desk.

INT. GARAGE - DAY

Dylan uses a ratchet and removes training wheels from a

bicycle.

He picks up Saku’s jar and puts it inside a backpack.

He pulls the backpack over his shoulders.

He straps on a helmet.

He pushes the garage door opener switch.

EXT. GARAGE/NEIGHBORHOOD STREET - DAY

The garage door opens to reveal Dylan mounting a bicycle

that is too small for him.

He kicks off, exits the driveway and rides into the street.

Mom’s face is in a window. She sees him.

MOM

Dylan!

She rushes out of view.

(CONTINUED)

CONTINUED: 6.

Dylan rides as if it’s his first time.

Mom runs into the street after him.

MOM

Dylan! Get back here!

A car pulls out of a driveway in front of Dylan.

He panics and rides into some bushes.

Mom runs to where he fell.

MOM

Oh my god. DYLAN!

She stands him up and examines him for injuries.

MOM

Honey? ARE YOU OK?

He starts to move toward his bike. She moves to block his

way.

MOM

WHERE THE HELL DO YOU THINK YOU’RE

GOING?

He won’t look at her. She kneels in front of him.

MOM

HE’S NOT OUT THERE! You know that,

don’t you? He’s not- anywhere.

Dylan looks behind her and sees a storm drain stenciled with

"DRAINS TO RIVER".

MOM

Will you...DYLAN, for the love

of...LOOK AT ME!

He does. She shakes him by his shoulders as she speaks:

MOM

SPEAK to me! Argue with me!

Anything!

She stares into his eyes and waits for a reaction. He gives

none as he stares back.

MOM

Until you are ready to have a

conversation with me like a big

(MORE)

(CONTINUED)

CONTINUED: 7.

MOM (cont’d)boy, you ARE NOT to leave your

room. Go!

He picks up his bike and walks back toward the house.

INT. BEDROOM - DAY

Dylan stands on his chair and examines the map above his

desk. He traces his finger over the Columbia River to where

it empties into the Pacific Ocean.

He picks up the jar, unscrews the cap and looks at Saku one

last time.

He leaves the room with the jar.

POURING WATER.

A TOILET FLUSHES.

He returns with the empty jar and absently places it back on

the desk.

INT. KITCHEN - DAY

Mom stands in front of the open refrigerator and opens a

wine cooler. She takes a gulp and forcefully closes the

door.

Dylan’s drawings fall to the floor.

She picks up the drawings, and looks at them while taking

another sip.

She holds the new drawing with Mom, Dylan and Saku then

moves it behind the old drawing with Mom, Dylan and Dad.

She raises the bottle to take another sip and stops. She

places the bottle on the counter and looks at the drawings

side by side.

Realization washes over her face and she exits the room.

INT. BEDROOM - DAY

Dylan is lying face down on the bed.

DOOR KNOCKS. Mom enters holding the drawings and sits on the

bed next to Dylan.

(CONTINUED)

CONTINUED: 8.

She places her hand on his back.

MOM

What do you say we go to the coast

this weekend?

He sits up and nods an "OK".

MOM

You could bring Saku-

She looks around and sees the empty jar on the desk.

MOM

What happened?

Dylan looks away. She moves closer and puts her arms around

him.

MOM

Oh honey, I’m so sorry.

He returns the embrace and puts his head on her shoulder.

DYLAN

He’s in a better place.

She pushes him out to arm’s length as if she isn’t sure

where the voice came from.

MOM

Well...alright then.

She hugs him tighter.

DYLAN

He went to the ocean.

INT. HALLWAY/BATHROOM - DAY

POV LOOKING UP FROM INSIDE TOILET.

Dylan looks inside.

He flushes.

THE END

DYLAN, is an 8-year-old, Caucasian, dark-haired, good-looking kid. He is smart, but naïve, introverted and quiet. He knows how to speak, but chooses not to since the sudden death of his father. As time progressed, he hasnʼt felt the need to speak and as his Mom has begun to date Seth, her new boyfriend, Dylanʼs choice to be selectively mute has become a passive-aggressive act of rebellion. He has a pet betta fish that he keeps with him in a mason jar and he considers it to be the last thing he has that connects him to his father. He keeps the fish near him at all times, often staring into the jar and daydreaming and occasionally tries to take the fish for “walks” by letting it swim in the toilet. He has an affinity toward comic book and movie characters and typically wears t-shirts or pajamas that reflect these tastes. His room is filled with toys, bed sheets, posters, etc. that have been bought for him by his Mom in hopes it might spark conversation. He likes to draw with crayons, both as a pastime as well as a means of communication. Through the course of the story, Dylan tries to get to the ocean where he plans to free his fish, in turn letting go of his father and moving on with his life. In turn, he also wants to get out from under his momʼs apron strings, although he doesnʼt understand that his Mom means well by her (over)protectiveness. His actions are usually unsuccessful and result in a scolding by his Mom. [MAIN]

MOM, is in her early to mid 30s, Caucasian, with dark hair, and pretty. She wears her heart on her sleeve and has a bit of mysophobia (fear of germs). She typically dresses business casual and dolls it up for a night on the town. She is Dylanʼs mom and has been a single parent for the past couple of years, following the sudden death of her husband. Her son has not been able to speak since his death and in order to try to connect with her son has showered him with toys and gifts, to no avail. Instead, his pet fish, given to him by his father before he passed has remained his favorite thing, to her dismay as she considers the fish dirty. Recently, Mom has begun seeing a new boyfriend, Seth. She realizes that Dylan might believe that she is attempting to replace his father with Seth, although it is not her intent; rather, she is trying to move on with her life. Through the course of the story, she tries to find a balance between moving forward with her life while getting Dylan to open up to her, but her patience is wearing thin. He has developed an interest in leaving the house, although she is not quite ready to let him out from under her (protective) wing. Her actions typically put a halt to any of Dylanʼs plans, although she is unaware of his true desire. [SUPPORTING]

SETH, is in his late 20s to early 30s, Ethnic (not Caucasian) and handsome. He is Momʼs new boyfriend. He enjoys the company of Mom, but doesnʼt have much experience with Dylan or with kids in general. His relationship with Mom is his first with a single mom. Although he doesnʼt quite understand Dylanʼs unwillingness to speak, he tries to initiate conversation with him, usually by attempting to offer some sort of knowledge or interest in his fish. Nevertheless he tries every time he sees him and hopes for a response and that it might earn him extra points with his mom.

BREAKDOWN SHEET SHOW Betta BREAKDOWN PAGE # 1

LOCATION 1 PROD #

STAGE LOCAL LOCATION DISTANT LOCATION DATE 7/29/2011

DESCRIPTION STORY DAY

SCENE #s INT. EXT. DAY NIGHT DAWN DUSK # OF PAGES

1 Hallway - Dylan carries Saku into bathroom 1/8

TOTAL PAGES 1/8

NO. CAST ATMOSPHERE PROPS /SET DRESSING 1 Dylan

Saku/Mason Jar

CAMERA WARDROBE

Glidecam Dylan: Pajamas

STAND-INS SPECIAL EFFECTS VISUAL EFFECTS

STUNTS TRANSPORTATION / PIC. VEHICLES SOUND / MUSIC

MAKEUP / HAIR ELECTRIC / GRIP / CRANES SPECIAL EQUIPMENT

SPECIAL MAKEUP EFFECTS ANIMALS / LIVESTOCK / WRANGLERS OTHER

Saku

TEACHER / WELFARE WORKER


LOCATION 1 PROD #

STAGE LOCAL LOCATION DISTANT LOCATION DATE



2 Bathroom - Dylan takes Saku for a walk, Mom struggles 8/8

TOTAL PAGES 8/8


Saku/Mason Jar 2 Mom

Cellphone

CAMERA WARDROBE

Tripod and Handheld Dylan: Pajamas

Mom: Date night outfit





Saku



LOCATION

PROD #




3 Living Room - Dylan learns about ocean from Seth, Mom shares awkward goodbye with Seth 2 1/8

TOTAL PAGES 2 1/8

NO. CAST ATMOSPHERE PROPS /SET DRESSING 1 Dylan TV with nature programming Saku/Mason Jar 2 Mom

Wet Cellphone

3 Seth

CAMERA WARDROBE

Tripod Dylan: Pajamas

Mom: Date Night Outfit

Seth: Date Night Outfit





Saku



LOCATION 1 PROD #




4 Kitchen - Mom places Dylan's drawing on fridge 3/8

TOTAL PAGES 3/8


Dylan's Drawings 2 Mom

CAMERA WARDROBE

Tripod Dylan: Pajamas

Mom: Date Night Outfit







LOCATION Bedroom PROD #

STAGE LOCAL LOCATION DISTANT LOCATION DATE



5 Dylan Plans his journey 8/8 8 Dylan lets go of Saku 2/8

TOTAL PAGES


Saku/Mason Jar

US Map

Fish Coin Bank

Hulk Fists Toy Hammer

CAMERA WARDROBE

Tripod Dylan: Incredible Hulk TShirt / Jeans

Karate Kid bandanna

Lucha Libre Mask





Saku



LOCATION Garage PROD #




6 Dylan removes training wheels, prepares for ride 2/8

TOTAL PAGES 2/8


Bicycle w/ training wheels

Ratchet

Saku/Mason Jar

CAMERA WARDROBE

Low Tripod (Baby Legs) Dylan: Incredible Hulk Tshirt / Jeans

Backpack

Bike Helmet





Saku



LOCATION Garage / Neighborhood street PROD #




7 Dylan exits garage and rides out into street and Mom chases after him. 1 3/8

TOTAL PAGES 1 3/8


Dylan's Bicycle 2 Mom

CAMERA WARDROBE

Overcrank and normal footage Dylan: Incredible Hulk Tshirt / Jeans

Mom: Next Day Outfit



Vehicle to pull wheelchair dolly

Vehicle that pulls out into street


Wheelchair Dolly




LOCATION Kitchen PROD #




9 Mom realizes Dylan's request 3/8

TOTAL PAGES 3/8

NO. CAST ATMOSPHERE PROPS /SET DRESSING 2 Mom

Dylan's Drawings

Wine cooler bottle

CAMERA WARDROBE

tripod and dolly Mom: Next Day Outfit







LOCATION Bedroom PROD #




10 Dylan and Mom reconcile 7/8

TOTAL PAGES 7/8


Empty Mason Jar 2 Mom

CAMERA WARDROBE

tripod and dolly Dylan: Incredible Hulk Tshirt / Jeans

Mom: Next day outfit







LOCATION Bathroom PROD #




11 POV from inside toilet 1/8

TOTAL PAGES 1/8


Toilet seat (detached)

Empty Mason Jar

CAMERA WARDROBE

Loose tripod Dylan: Incredible Hulk Tshirt / Jeans






Betta Strip Board

Breakdown Page # 7 5 5 6 3 2 8 9 10 4 1

Day/Night Day DAY DAY DAY EVENING EVENING DAY DAY DAY EVENING EVENING

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ZEDLAVER FILMSTitle: Betta

Director: R. Valdez

Producer: L. Garcia & Z. Kertesz

AD: D. Andrews

DP: Z. Smith

Character

1. Dylan SW W W W W W W W W WF

2. Mom SW W W W W W WF

3. Seth SWF

Extras (# needed) X X X X X X X X X X X

DES

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Betta Shot List

EXT. GARAGE/NEIGHBORHOOD STREET – DAY

7aWS (overcranked and normal on wheelchair dolly) garage door opening to reveal Dylan on bike, kicks off and rides into street, Mom runs behind, pulls out of driveway and he rides off camera, mom runs to where he fell.

7b CU (overcranked and normal) foot and tires, kicking off7c WS (overcranked and normal) Mom’s face in window, rushes out of view7d LS (reverse) Mom runs into street after him. 7e LS (new angle) Mom runs to where he fell, stands him up, dialogue.7f MCU Mom dialogue7g MCU Dylan reactions7h WS Mom last dialogue, Dylan picks up his bike and walks toward home.

INT. BEDROOM – DAY5a WS Dylan looking at map8a WS Dylan examines map and picks up Saku.5b MCU Dylan measuring distance on map8d MCU Dylan traces finger over Columbia River5c CU (rack focus) Dylan’s fingers to Saku in jar5d LS Mom standing in doorway, dialogue and exit.5e MS Dylan feed Saku5f CU feeding fish5g MS Dylan picks up and shakes bank.5h MS tries to break bank with toy hammer5i MS tries to break bank with karate chop5j MS tries to break bank with Hulk fists5l MCU pulls off mask and fists, opens bank and spills change out5k CU Hulk fist hitting bank, knocks it over to reveal stopper5m CU spills change onto desk

8b LS (profile) Dylan picks up Saku and looks into jar and leaves room, returns and replaces empty jar

8c CU placing empty jar on deskINT. GARAGE – DAY

6a MCU Dylan removes training wheels, places Saku into backpack, puts backpack and helmet on.

6b CU removing training wheels6c CU placing Saku into backpack, put backpack on6d CU buckling helmet 6e CU pushing garage door switch.

EhEnd of Day 1

Betta Shot List

INT. LIVING ROOM – EVENING3a WS (master) Dylan enters and kneels at coffee table, ignores Seth. 3d WS Mom enters and cleans Dylan. 3e LS Mom enters, stands Dylan up and cleans him. Dialogue with Seth.3b MS Dylan puts jar on table, draws, interacts/ignores Seth.3c MS Seth speaks to Dylan, Mom enters, dialogue3g LS 2shot near door Mom says goodbye to Seth, Dylan in BG drawing.3h MCU Seth goodbye3i MCU Mom goodbye3k MS Mom sits on couch, dialogue, Dylan hands drawing to her. 3f MS Dylan draws3j CU Dylan gets closer to drawing, 3l MS Dylan drawing, reacting to Mom speaking.

INT. BATHROOM – EVENING

2a LS Dylan enters bathroom, dumps fish into toilet, Mom applies makeup in mirror, interacts with Dylan, phone rings

2b MCU OTS mirror: Mom applies makeup, sees Dylan and moves out of shot.2c MS Mom phone call and struggle with Dylan over toilet2d LS (alt angle) Mom phone call and struggle with Dylan over toilet2f MS Dylan pulls Saku in jar out of toilet, profile holding jar up to face and exits2e CU Saku inside toilet, phone drops inside2g CU phone inside toilet, Mom’s hand reaching inside

INT. KITCHEN – DAY9a MCU (master) whole scene with dolly push at end9b MS drawings fall to floor9c MS OTS view of drawings

INT. BEDROOM – DAY10a WS (master) whole scene with dolly track out at end, empty jar in foreground10b MCU Mom dialogue10c MCU Dylan reaction and dialogue10d CU cutaway to empty jar

INT. BATHROOM – DAY11a POV looking up framed by toilet seat, Dylan looks inside and reaches to flush.

INT. KITCHEN – EVENING4a WS Mom places new drawing on refrigerator, and leaves room.4b MCU Dylan looking at drawing4c MCU INSERT old drawing on fridge, new drawing placed on top4d OTS push in of new drawing.

INT. HALLWAY – EVENING1a MS Tracking: Dylan walking through hallway to bathroom1b LS Profile: Dylan arrives to door1c CU Saku in jarEnd

End of Day 2

CALL SHEET PRODUCTION COMPANY Zedlaver Films DATE 07/29/11 SHOW Betta DIRECTOR Rob Valdez SERIES EPISODE

PRODUCER Luis Garcia PROD #

DAY # 1 OUT OF 3 LOCATION

IS TODAY A DESIGNATED DAY OFF? YES NO SUNRISE

SUNSET

CREW CALL

ANTICIPATED WEATHER

LEAVING CALL

Weather Permitting See Attached Map SHOOTING CALL

Report to Location Bus to Location SET DESCRIPTION SCENE # CAST D/N PAGES LOCATION

CAST PART OF LEAVE MAKEUP SET CALL REMARKS

ATMOSPHERE & STAND-INS

NOTE: No forced calls without previous approval of unit production manager or assistant director. All calls subject to change.

ADVANCE SCHEDULE OR CHANGES

Assistant Director Don Andrews Production Manager Rowan Spiers-Floyd © ELH

Betta Equipment List Art Institute Cage

• Camera o Canon 5DmkII 1

§ 24-‐70mm lens included o Video Monitor 7”LCD 1

§ HDMI cable o Red Rock Micro 1 o Sachtler FSB tripod 2 o 4ft rail slider 1 o doorway dolly 1 o baby legs 1 o lenses

§ 50mm 1 § 24mm 1 § 100mm 1 § 70-‐300mm 1

• Lighting o HMI 1 o Diva w/2900 & 5500 bulbs 2 o 1 K lights 2 o 3 Lowell DP kit 1 o LTM 100w 2 o Stingers 25’ 4 o Stingers 50’ 2

• Grip o C-‐Stands 8 o Combo Stands 2 o Sand bags 12 o 4’ flag kit 1 o 18x24 flag kit 1 o Flexfill 1 o Pigeon plate 1 o Apple boxes (full, half) 4 o

• Sound o Sound Devices 702 (extra battery) 1 o Shure Mixer 1 o Carbon Fiber Boom pole 2 o Grey superscreen 1 o Rycote softie 1 o Pistol Grip 1 o Microphones

§ Rode NTG3 1 § Rode NT4 1 § Tram Lavs 2 § SM57 1

o XLR Cables (various lengths) 4

Production: Betta Budget Draft Date: Sheet # 1Length: Shooting Dates: 7/29/11-7/31/11 Page # 1 ofLocation: Portland, OR

Account # Category Specifics # Unit Cost Budget Actual CostABOVE THE LINEProducer Luis Garcia 0.00 0.00Writer/Director Robert Valdez 0.00 0.00Cast (Non-Union) 0.00 0.001. Dylan 0.00 0.002. Mom 0.00 0.003. Seth 0.00 0.004. 0.00 0.00BELOW THE LINE 0.00 0.00 ATL TOTALAssistant Director Don Andrews 3 Days 0.00 0.00UPM Rowan Spiers-Floyd 3 Days 0.00 0.00Director of Photography Zach Smith 3 Days 0.00 0.00Assistant Camera Jameson Posey 3 Days 0.00 0.002nd AC/Script Supervisor Colleen Laeger 3 Days 0.00 0.00Gaffer Paulius Kontijevas 3 Days 0.00 0.00Grip 1 Westley Cornwell 3 Days 0.00 0.00Grip 2 Days 0.00 0.00Boom Op Levi Chick 3 Days 0.00 0.00Sound Mixer Josh Pino 3 Days 0.00 0.00Hair/Makeup Camilla Rodio 3 Days 0.00 0.00Set Dresser Adam Halverson 3 Days 0.00 0.00Wardrobe Days 0.00 0.00Production Assistant 1 Cody Lawhorn 3 Days 0.00 0.00Production Assistant 2 Days 0.00 0.00BTS/Still Photographer Shane Phillips 3 Days 0.00 0.00Editor Robert Valdez 3 Days 0.00 0.00Assistant Editor/Media Management Days 0.00 0.00Sound Designer Robert Valdez 3 Days 0.00 0.00PRE PRODUCTION 0.00 0.00 BTL TOTALResearch 0.00 0.00Script Consultation 100.00 0.00Location Scouting 0.00 0.00 Gas 100.00 0.00 Misc Expenses 25.00 0.00Casting 0.00 0.00 Location Fees 0.00 0.00 Crafty 30.00 0.00Web 0.00 0.00 Kickstarter 0.00 0.00 Design 0.00 0.00 Domain 12.00 0.00 Hosting 0.00 0.00PRODUCTION 267.00 0.00 PRE PRO TOTALCamera 0.00 0.00 Canon 5dMkII 0.00 0.00 Tripod 0.00 0.00 Expendables 0.00 0.00

Budget Template:

Misc Camera Support Dolly, Slider 0.00 0.00Steadicam Rickshaw Dolly 1 Day $100.00 100.00 0.00

Lighting and Grip 0.00 0.00 Lighting and Grip Package 0.00 0.00 Expendables 100.00 0.00Sound 0.00 0.00 Sound Equipment 0.00 0.00 Expendables 20.00 0.00Art Department 500.00 0.00 Props 0.00 0.00 Set dressing 0.00 0.00 Expendables 0.00 0.00Wardrobe 0.00 0.00 Rentals 0.00 0.00 Purchases 0.00 0.00 Expendables 0.00 0.00Hair/Makeup 0.00 0.00 Expendables 0.00 0.00Locations 0.00 0.00 Fees and Permits 0.00 0.00 Parking 0.00 0.00Transportation 0.00 0.00Crafty/Catering 0.00 0.00 Food 500.00 0.00 Waste Management 0.00 0.00Insurance 0.00 0.00Miscellaneous 0.00 0.00POST PRODUCTION 1220.00 0.00 PRODUCTION TOTALEditing 0.00 0.00 Studio Rental 0.00 0.00Sound Design 0.00 0.00 Studio Rental 0.00 0.00Music 0.00 0.00 Composer 0.00 0.00 Rights 0.00 0.00Finishing 0.00 0.00 Color Correction 0.00 0.00 Final Mix 0.00 0.00 Format for DVD, Streaming, Etc. 0.00 0.00MARKETING AND DISTRIBUTION 0.00 0.00 POST PROD TOTALWeb 0.00 0.00 Kickstarter 0.00 0.00 Design 0.00 0.00 Domain Name 0.00 0.00 Hosting 0.00 0.00Press Kit 0.00 0.00 Printing 0.00 0.00Festival Fees 0.00 0.00Screeners 0.00 0.00Postage 0.00 0.00

0.00 0.00 M & D TOTALGRAND TOTAL EST:TOTAL BUDGET: 1,487.00ACTUAL GRAND TOTAL:

• What is the film is about? o Betta is about a boy who wants to free his fish to the ocean and in turn

gain freedom from his motherʼs controlling rule.

• What is the controlling idea or theme of the film? o Freedom is obtained when we let go of our past.

• Provide a description of the color palette. o Dylan is green. The Hulk fists, pajamas, t-shirt, etc. all have hints of green.

Possibly blue jeans during the day. o Saku is red, as well as the remnant of Dylanʼs deceased father. Dylanʼs

picture of the family will also show his dad wearing a red shirt. Red also reflects the past.

o Mom is brown and grey. Warm and inviting. The house is a reflection of this. For her night on the town, she also wears red shoes, which she gets rid of when the night is spoiled.

o Seth wears blue as if he is a spokesman for the sea.

• Describe the lighting techniques used. o Realistic lighting, in other words lighting that looks like it comes from

practical sources, whether they be practical or not. Not moody, but not ignoring the possibility of reflecting Dylanʼs mood. I would like to find a way to incorporate practical lighting changes as well.

• If fiction, describe the wardrobe and makeup choices. o Mom getting ready for a night on the town, dolled up. She wears a hint of

red that is taken away by the next day. Mom the next day, more casual than business. She wears brown and warm greys.

o Dylan wears “Incredible Hulk” pajamas jeans and an “Incredible Hulk” t-shirt and blue jeans and (another character) t-shirt.

• Identify shot composition techniques and approaches. o My big WANT shot is a long tracking shot that follows Dylan as he takes

his first sans-training wheels bike ride. I picture deep focus that allows him to be in plain view as well as being able to see mom in the background chasing after him. A wide angle lens will give the best results when achieving the deep focus as well as making Dylan seem huge in the frame and his mom to be smaller/further behind. This might be achieved with a wheelchair dolly (Gearhead G+E has one for rent)

o The conversations between Mom and Dylan will be typical 2-shot to OTS type coverage.

o The scene where Dylan plans his journey to the ocean will include a lot of long shot type compositions with closeups that reveal his plan, following

his fingers tracing a route to the ocean, measuring distance then sizing up his fish with rack focus.

o The montage of Dylan breaking open his piggy bank will be light-hearted and be deep enough focus to see him as well as the opposing bank.

• Describe the locations and what distinctive elements the locations contain. o Middle class house and neighborhood, living room, kitchen, bathroom. o Inside Dylanʼs bedroom, bed sheets, posters, toys depicting different

movies and Marvel comics characters

• Discuss any imagery that particularly stands out to you and why. o Dylan holding the jar with his fish at eye level. I can see this being a

nod/reference to Macbeth gazing at Yorickʼs skull (death, memento mori etc.)

• Address any visual metaphors or symbols that are used in the film. o Saku, the fish, serves as a Macguffin as well as a representation of (the

memory of) Dylanʼs father. This is also examined through the use of Dylanʼs drawings depicting (1) himself with his mom and dad and (2) himself with his mom and Saku.

o The color red is a symbol for the past. Mom wears red shoes when heading for her night on the town. When the night is spoiled, she takes them off.

This location would be primarily used for all interior shots (excl garage) Not necessarily ideal for exteriors because there is traffic nearby as well as train tracks.

• Jamie Cooper, homeowner • Nearest cross streets are SE 39th and Powell • Breaker box is in the basement. All circuitry is modern and outlets are three

prong • Parking is on the street, unpaid and unregulated by city • Bathroom upstairs and downstairs. • Patio style area with direct access to living room for staging gear. • There is a garage location/green room as well as a deck in the backyard where

food could be served. • Traffic can be heard while in the street facing bedroom and living room that

mostly disappears when the doors/windows are shut. Refrigerator in kitchen, keys inside while filming kitchen scene

• The bathroom is probably not ideal for the scene, but the scene may change either way

•

Both of these can be the same place, which would be ideal, but not necessary. For both locations we need access to bathrooms, a dry place to store/stage gear, a place to serve meals, and parking. Location 1: Exterior of house with garage with functional ELECTRIC GARAGE DOOR and neighborhood street.

● House should be on one end of a street, though not necessarily perpendicular. Not necessarily on a corner, but enough to have enough space for a camera move that will go from one end of the street to the other.

● We need to be able to get permission to block the street off for at least 4 hours.

○ This needs to be done with cooperation through the local government, police, etc. ■Less busy streets nearby would be ideal, SOUND WILL BE captured for this

scene.

The house in question can be in any position towards the end of the street. Location 2: Interior of house. Need access to living room, kitchen, bathroom, hallway and a bedroom that is or can be redecorated to look like an 8-year-old boy’s room.

LOCATION RELEASE

Property Owner Jamie Cooper Location INT LR, Kit, BR, Bath Property Address 3639 SE Francis Set Number 1

Portland, OR 97202

Production Company Zedlaver Films (akaRobert Valdez (“Producer”) Address 604 SE 119th Ave

Portland, OR 97216 Re: “Betta” (the “Picture”)

To the Producer:

Owner hereby acknowledges that the Property as referred to in the LOCATION AGREEMENT between Producer and Owner dated xx/xx/2011 , (the “Agreement”) has been returned to Owner in substantially the same condition as it was in prior to Producer’s use thereof.

Owner hereby acknowledges that

(a) All payments required under the Agreement have been paid;

(b) No additional restoration work is required in connection with the Property;

(c) Owner, and any individual who entered the Property at the invitation or on behalf of Owner, suffered no personal loss or damage in connection with the use of the Property by Producer; and

(d) Producer has no other responsibilities in connection with the Property other than to continue to hold Owner harmless from any and all third-party suits, claims, or loss or liabilities directly resulting from Producer’s use of the Property.

Owner hereby releases and forever discharges Producer, its parent, subsidiary, affiliated and associated companies and its and their officers, employees and agents, and their successors and assigns of and from any and all claims, debts, demands, liabilities, obligations, costs, expenses, damages, actions and causes of action of whatsoever kind or nature, whether known or unknown, which Owner has ever had, now has or which Owner or any of its successors or assigns hereafter can, shall or may have against Producer based on or arising out of, relating to or in connection with the Agreement.

Producer may assign, transfer, license, delegate and/or grant all or any part of its rights, privileges and property hereunder to any person or entity. This Agreement shall be binding upon and shall inure to the benefit of the parties hereto and their respective heirs, executors, administrators, successors and assigns. This Agreement and Owner’s rights and obligations hereunder may not be assigned by Owner.

ACCEPTED AND AGREED TO

Jamie Cooper xx/xx/2011

Owner Date

PERSONAL RELEASE

Film "Betta"

Production Company Zedlaver Films

Address 604 SE 119th Ave

Portland, OR 97216 Date xx/xx/2011

Ladies and Gentlemen:

I, the undersigned, hereby grant permission to Robert Valdez (“Producer”) to photograph me and to record my voice, performances, poses, acts, plays and appearances, and use my picture, photograph, silhouette and other reproductions of my physical likeness and sound as part of the

Film Production tentatively entitled "Betta"

(the “Picture”) and the unlimited distribution, advertising, promotion, exhibition and exploitation of the Picture by any method or device now known or hereafter devised in which the same may be used, and/or incorporated and/or exhibited and/or exploited. I agree that I will not assert or maintain against you, your successors, assigns and licensees, any claim, action, suit or demand of any kind or nature whatsoever, including but not limited to, those grounded upon invasion of privacy, rights of publicity or other civil rights, or for any other reason in connection with your authorized use of my physical likeness and sound in the Picture as herein provided. I hereby release you, your successors, assigns and licensees, and each of them, from and against any and all claims, liabilities, demands, actions, causes of action(s), costs and expenses whatsoever, at law or in equity, known or unknown, anticipated or unanticipated, which I ever had, now have, or may, or shall hereafter have by reason, matter, cause or thing arising out of your use as herein provided. I affirm that neither I, nor anyone acting for me, gave or agreed to give anything of value to any of your employees or any representative of any television network, motion picture studio or production entity for arranging my appearance on the Picture. I have read the foregoing and fully understand the meaning and effect thereof and, intending to be legally bound, I have signed this release. Dated xx/xx/2011 Signature

If a minor, Guardian’s Signature

Please Print Name AGREED AND ACCEPTED TO

Address

By

(

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-

Phone Number Release #1

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