Shot List

Shot Number

Description (shot type, angle, movement, action)

Scene description Production notes

1 Tight Shot- close-up, two-shotSlow movement, dolly track forward

Sal and Antonio are sitting inside their car, waiting for someone to turn up near the car park; they are coming up with a plan

CARLO:He won’t hold back and neither will we

ANTONIO:We’ve got to get those damn files back

Equipment/ Requirements: A Tripod and Dolly

The Setting will be in Carlo and Antonio’s car, but in a ‘Car Park’.

Props may include a gun, whilst Antonio is talking

2 Wide shot-half of the shot is uninhabited-Dwayne is on the left

He is fairly confident, standing still (contrasted to the nervous movement of Sal in the next shot)

EXT: A CAR PARK- NIGHT

DWAYNE is inside his car, on the PHONE to SAL.

Equipment/ Requirements: A Tripod, side lighting

Props: Mobile Telephone

3 High angle shot, dolly track out

Sal is on his own in the ‘Motel Room’ and is in a vulnerable state after having to run from Carlo and Antonio; he has a low profile

INT: MOTEL ROOM- NIGHT

SAL is lying on a BED with black DUVET COVERS, on his PHONE

Equipment/ Requirements: A Tripod, Stepladder

Being able to raise the camera above Sal during the shot

4 Mid-shot, wide shot Dolly tracking, pan shot-right to left

Antonio and Carlo stand against the building, looking fairly neutral, yet are obvious to us

EXT: THE CITY- DAY

CARLO and ANTONIO are outside a BUILDING and waiting ANTONIO covers his arm with a newspaper, hiding his PISTOL

Equipment/ Requirements: Dolly and a Tripod

Setting: Tall building/ skyscraper, ideally with a grey brick colour

Props: Newspaper and Gun

5 Tight-shot, close-up Dolly tracking out from Carlo and onto Antonio, ending with the two in the shot

The shot gets tighter, whilst Carlo is talking; the movement ends with Antonio saying ‘in’

CARLO: The word’s out; Sal’s got a rookie detective in on all of this

ANTONIO: Someone’s in trouble

Equipment/ Requirements: Dolly and a Tripod

The Setting is in the office of Antonio and Carlo’s home

Props: computer, desk, documents, lamp, fake money

6 Close Up- Dolly Track, tight shot

The movement starts with Dwayne staring at a computer monitor, and then showing what the screen shows; both in the shot

INT: OFFICE- EVENINGPHOTOS of DWAYNE and SAL are on the MONITOR

Equipment/ Requirements: A Tripod and Dolly

Shot List- Section 4

7 Two shot, mid-shot

Carlo and Antonio are both in the scene, differently sized- they are in their office looking at a computer screen

INT: THE FIBONACCI HOUSE, OFFICE-DAY

CARLO (CONT’D):Check that number

Setting: Quite Street

Equipment/ Requirements: A Dolly and a Tripod

8 High angle shot, dolly track out

Sal is on his own, lying down on the ground

INT: MOTEL ROOM-NIGHT SAL is on the FLOOR, in a small room.

Equipment/ Requirements: A Tripod, lighting and Dolly

9 Side shot, close up

We see one side of Antonio, as with one half of his face; on the other side of the shot is a dart board

ANTONIO (V.O CONT’D): I’d rather have a shell-check before I start shooting


Set-Prop: Dart Board

10 Whip Pan, Mid shot

The movement starts from Antonio’s arm, pushing the gun out of the window and firing it at someone; quick shot

EXT: CAR PARK-EVENING ANTONIO SHOOTS HIS FIREARM


11 Long Shot, wide shot

The lighting is fairly low-key lighting, creating a slight silhouette of both Dwayne and the man in the chair

INT: IN AN ABANDONED WAREHOUSE- DAY DWAYNE is interrogating a MAN, BLEEDING in a CHAIR

DWAYNE: Where are they hiding?


Props: Chair and a Bag (to put over the characters’ head)

12 Long Shot, tight shot

The lighting is fairly low-key lighting, creating a slight silhouette of both Dwayne and the man in the chair

INT: AN ABANDONED LOCATION- DAY DWAYNE SHOOTS THE MAN IN THE CHAIR


Props: Chair and a Bag (to put over the characters’ head)

13 Close up, tight shot, track-tilt shot INT: OFFICE-NIGHT

DWAYNE (On the Phone):Trust me


Props: Mobile Phone

14 Whip Pan-Jump Cuts-quick editing (a mixture of shots to compile the action) The scene will be quick, similar to the action involved within the scene

INT: CAR-DAY CARLO IS DRIVING HIS CAR, IN A CHASE


15 Slow motion-Close up (Bucket of the flammable liquid) mid-shot (the match), long shot, tight shot (setting the room on fire, with documents)

INT: EMPTY ROOM OFFICE- NIGHT ANTONIO and CARLO cover the ROOM in a FLAMMABLE LIQUID and spark a MATCH on fire


16 POV shot, hand-held shot, tight shot

Sal enters his home, the office messed up and glass smashed, papers shredded and wallpapers ripped in the room

INT: SAL’S HOME- DAY DOCUMENTS and PAPERS are laid around the FLOOR, messy and disrupted


Props: Papers, broken glass, wallpaper and office items (pins, staples, pieces of wood)

17 Whip pan-quick editing, jump cuts, long shot, dolly track pan

Sal is running quickly, as though he has to escape and run away from the people trying to catch him

MAIN CREDITS: CAST’S NAMES

‘AGATINO D’AGATE- AS SALVATORE VITTI’

EXT: ABANDONED LOCATION- NIGHT SAL is running through a WAREHOUSE holding a PISTOL


Props: Metal, wooden materials

A location which isn’t too far, and isn’t dangerous to use

18 Dolly track pan-right to left, close-up

The bullets are noticeable in the shot, but not the main level of focus at the start

INT: BAR LOCATION- EVENING SAL is sitting around a TABLE with BULLET SHELLS around it


Props: Bullet Shells/Replicas

19 Close up, tight shot, handheld-pan

Dwayne is laying on the ground- levels will be shown when noticing his wounds and injury, from an unknown person/s

‘BEN OGLIBIO- AS DWAYNE PALMA

EXT: CAR PAR- EVENING DWAYNE is sitting beside his CAR, on the GROUND, and is BLEEDING slightly on his CHEEK

Equipment/ Requirements: A Tripod, lighting, steady-cam and Dolly

Props: Car (set), Fake blood (Make-up FX)

20 Dolly track-fast movement, forwards Long shot to close up- one take

Dwayne is on his own within the warehouse, and we identify his power after seeing the man in the chair’s corpse

INT: ABANDONED LOCATION- DAY DWAYNE is standing by the tied up CORPSE in a CHAIR DWAYNE HOLDS HIS HAT ON HIS HEAD AND NODS TO THE DEAD BODY


Props: Chair (wooden), Fake blood (Make-up FX)

21 Dolly track-fast, close-up, tight-shot

From the image to Antonio and back to the image

We are aware of the image, and Antonio’s anger and distress when holding the image

‘ALESSIO PETULLA’- AS ANTONIO FIBONACCI’

INT: THE FIBONACCI HOME- NIGHTANTONIO is in an OFFICE, staring at a PHOTO of himself, CARLO and SAL looking happy together

ANTONIO TEARS THE PHOTO OF SAL TO SHREDS


Props: Fake blood (Make-up FX), image/photograph

22 Dolly Track-tilt, close-up, low angle shot

Starting from the bottom and lifting upwards toward Antonio and Carlo

EXT: THE FORREST- DAY ANTONIO and CARLO, with a MAN, tied up with a STRAW BAG over his head ANTONIO SHOOTS THE MAN IN THE HEAD


Props: Straw bag

23 High angle shot, long-shot, opaque shot- the shot starts with a high angle, and remains and ends with a slight opaque shot

The brothers will be moving around, tensely within the scene- material on the floor; thin plastic lining covered in fake blood

‘MARCO PETULLA’- AS CARLO FIBONACCI’

INT: MOTEL ROOM- EVENING CARLO with a GUN, DISPOSABLE PLASTIC GLOVES and a BODY soaked in BLOOD CARLO WALKS OUT OF THE ROOM


Props: Plastic gloves, Fake blood (Make-up FX), a Gun,

24 Tight-shot, mid-shot, low angle shot Ending with a close-up of the shovel as it buries itself into the ground

The brothers dig a hole-1 metre deep

EXT: GREENLAND SPACE-EVENING CARLO and ANTONIO with SHOVELS, standing around a HOLE, with a BODY BAG CARLO AND ANTONIO ARE DIGGING A HOLE TO BURY THE BODY


Props: Shovels

25 TITLE: ‘R.A.T’- Appears on the screen TITLE: Date- ‘In

Equipment/ Requirements: Visual Text and FX;

Cinemas 16/01/16’ TITLE: ‘Cast and Crew’ Credits TITLE: Website- ‘WWW.RAT/film.co.uk’

lighting, Sound Effects; Climax, animation, fades, final beat

Education

Shot List