Cars on the road. Crash. Police. Ambulance.

The trauma of the accident.

Title: Always Someone


Hospital patient's subjective view. Patients interviewed in hospital.

Accident patients' reactions.

Accident Background

Urban congestion. Masses of traffic. Inside police lab.

City crowding. Problem of movement. How police investigate accidents.

Police tests at scene of accident.

Why Accidents Happen

Bad road engineering. Death spots. Blind spots. Discussion with road engineer.

(a) Bad road engineering. The state of the roads.

Talk to bus and taxi drivers.

Training course for bad drivers.

Training new drivers. Specialist training.

Bad visibility. Crowded car. Bad road signs. Rain. Family pressure.

Sports car racing. Big cars and beautiful women.

Impact test on cars. Cars on test courses. Safety belt tests.

Innovative car designs. Cars with reverse seats and periscope mirrors.

Animated film with new cars and well-designed, car-accommodating cities.

Wrecked cars in a salvage yard.

Not taking care.

Driver training. Pressures on drivers.

Cars an extension of the driver's psyche. The psychology of cars and driving.

Building the car. Car safety faults. New safety measures.

The car of the future.

The world of the future.

Need for concern now.

What I have set out above eventually grew to cover fourteen pages. Very much a first sketch, it nevertheless set out clearly how the visuals and ideas would work together. I knew that later scripts would require much more detail and that the shooting itself would suggest new patterns and variations. However, I needed to put some ideas on paper so that I could react to them and see whether the order made sense, at least in theory.

It is also worthwhile pointing out that certain sections were included not because I thought they were logically necessary to some thesis I was developing but because I thought they were visually interesting and might be fun to shoot. The scene in the police accident lab, for example, did not contribute much in the way of ideas, but it was a marvelous place to poke around and look at lie detectors, secret camera units, methods of metal testing, and so on. The jazzy sequence, with a beautiful blond on top of a

Rolls-Royce, also was not strictly necessary, but I thought it would provide a certain visual contrast.

What is important is that the first draft suggested a tentative order and connection between sequences that were really quite disparate. It was a beginning. In the end, the editing suggested quite a radical reordering, but that's a story for the editing chapter.

I stress the notion of sequence connection because without it your essay and ideas film can fall fiat, or fail to reach its full potential. This is one of the few criticisms I have of Tongues Untied, a film that, as I have already mentioned, I admire greatly. In Tongues Untied, many sequences are quite brilliant, but they often seem arbitrarily juxtaposed, one against another. In the end, this undercuts your emotional connection to the work.

Film Making

Film Making

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