Shot List, first draft.

‘DEPARTURES’

Shot List.

Stephen O’Neill

Frankie Price

Matt McQuillen

Shot One: Low angle sliding shot of ELLIE entering the train station.

Shot Two: Low angle sliding backwards as ELLIE walks forwards showing her art folder and rucksack.

Shot Three: CU of ELLIE as her phone bleeps, but she ignores it.

Shot Four: CU of the ‘CHECK BAGGAGE’ sign.

Shot Five: Camera at a low angle slowly moving forward as her art folder falls.

Shot Six: As she is picking up her work, she looks at her phone and the camera tilts up to her face.

Shot Seven: The camera catches the bus leaving, and ELLIE runs past the camera, and comes to a stop.

Shot Eight: CU of ELLIE looking defeated.

Shot Nine: We then cut to an over the shoulder shot of ELLIE looking at the departures board.  She’s baffled.

Shot Ten: ECU of ‘MUM’ ringing her phone.

Shot Eleven: ELLIE sits down as she is talking, but can’t get a word in with her irritating mother. MED shot.

Shot Twelve: We fade back in to show that some time has passed. She looks at her phone again, reading texts from her friend MARNIE, who eventually rings. We cross cut between close up’s of the phone and ELLIE’s face.

Shot Thirteen: Finding out MARNIE is outside, we get a MED shot of her getting up and a sliding low angle shot of her rushing out the doors.

Shot Fourteen: Dutch angle sliding towards the ground as ELLIE gets in the car and closes the door.

Shot Fifteen: The camera cross cuts between MARNIE and ELLIE throughout the car scene, with some close up’s to show emotion.

Shot sixteen: POV shots of ELLIE loosing interest and looking out the window. ECU’s at this point can also be included.

Shot seventeen: MARNIE pulls the car over to the side of the road. The camera is at a low angle sliding as the car stops right in front of it.

Shot eighteen: As the car is at a halt, we cut from shots of the outside of the car back to the inside simultaneously

Shot nineteen:  ELLIE slams the door and starts to walk off. MED shot.

Shot twenty: From inside MARNIE’s car, we see her speed off, driving past ELLIE.

Shot Twenty One: The camera slowly slides as ELLIE walks away in to the wilderness.