Lucky and Laura Flirt followed by
a dolly right that changes the this from
a 3 shot to a 2 shot as Laura and Lucky
begin to exclude Butch.
The original shot from the end of the bar which
I had planned to use if we were going to use a
real bar and had limited time. But then when I
decided to build the bar in my place, I also added
to the scene with 2 other actors, 2 other side
stories and lots more angles.
Originally Butch was in this shot but it ended
up begin just lucky and Laura's hair.
Going purely on memory of the factory I imagined
these shots not really remember too much of how
the building was designed.
As you can see this shot changed a bit. much more artsy.
fairly close to my original concept again drawn from
my memory of the factory windows.
This shot got reworked in conjunction with
Saudia Rashed's Right hook which landed
Jaime Alvarez to the left completely flipping
the shot. Still works very nicely.
Oddly enough this turned out almost exactly like
I imagined it in my sketch. Neither actor had
seen my storyboards. Just told em and they did
it. Pretty cool working with real actors.
I sketched these a month before I shot so I would at least have "ideas" that I could use or throw away when it came down to the actual day on set. And I think the best part of this process is that while sketching, my mind is totally in the scene, working out how it looks, like assembling a puzzle. I don't know that I'd be able to envision it as well without also drawing it. I think that the drawings then animate in my mind over the preproduction time period allowing for more ideas to unfold from them. Ideas that need more than shoot date time to perfect. I sketched the bar scene and then about 3 days later it came to me to add a whole new subplot based on a payoff system between the bartender and Butch. Not sure that would have come to me had I not lived in the space a bit through the illustrations. For me film making is very much an art. So the two mediums have to coexist.
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