Very low shots of the road surface rushing past. The road blurs at speed. We cut to racing cars speeding round a track. Women wave the cars on.

In my car, I feel like a real guy. There's power in my hands. My girl's at my side. Put my foot down and I can get to Monterey in an hour. In my car, I get really turned on. You're just not a man without a car.

Cut to a man looking through the window of a car showroom. Inside, two beautiful women in bikinis are sitting on the hoods of a Mercedes and a Ferrari — and smiling.

The commentary was in my own words but based on a number of interviews I had done during research. What I wanted from the visuals was not a parallel of the commentary but a visual sense of the meaning behind the commentary. What the visuals had to do was express the machismo that drove the man who was talking.

In another part of the film, I wanted to talk about all the pressures on the driver. My notes show my first thoughts on the subject. Pressure could be shown by the following sequence:

1. A mass of road signs block each other and give confusing directions. The driver's brain is overloaded with information.

2. The windshield is blurred, rain-lashed.

3. Inside the car, kids scream and nag.

4. The traffic is getting very heavy. The roads are icy and night is falling.

5. The oncoming drivers are using their brights and the lights are dazzling, going in and out of focus.

6. It starts to snow.

Sometimes you need visuals to illustrate a process or an evolving action, and that's quite simple to do. But sometimes you need to find visuals to illustrate something a little more abstract or a little less obvious, and this is a bit more difficult, though it offers you the opportunity to be really creative. In our proposed university script, we might want to make the point that today's students are tremendously politically involved. We might write the scene like this:

Film Making

Film Making

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