Blake Briscoe Back Home Studios Final Report 1465

Executive Producers: Blake Briscoe, Kylee Emert, and Sydney Schein Director: Sallie Mesker CALL Author: William Shakespeare

TIME 6:00PM

NO VISTORS WITHOUT PRIOR SET DIRECTOR APPROVAL Cast

Roll

Notes

Kylee Emert

Laertes

Wear button down shirt and pants

Blake Briscoe

Polonius

Wear dress shirt and pants

Sydney Schein

Ophelia

Wear nice dress

Lee Ann Fusz

Waiter

Wear dress shirt and pants

Set and Description Working Title: Honor Or Defy Thy Father and Brother: That Is The Question Setting: In a restaurant (Denmark’s Rotten Pub); present day Theme or motif: “Sex and the City” Our concept will be communicated by having characters discuss their thoughts in a restaurant setting, similar to the television show “Sex and the City.” We are going to use the musical theme from “Sex and the City” as an introduction to our movie to clearly communicate our concept. One of the most important concepts in the show was the ability of people to discuss their opinion freely and honestly to each other.

Special Equipment/Notes Equipment: camera, lights, copy of Hamlet text Props: suitcase, books and papers, hairbrush, magazines, purse, cell phone Grip/Electrical: extension cords Back Home Studios

Executive Producers: Blake Briscoe, Kylee Emert, and Sydney Schein Director: Sallie Mesker Author: William Shakespeare

Production Planning Story Board

• “Sex and the City” sound track plays as the audio introduction during the title slide; fades as transition to the act

Title slide

• Restaurant is dark, table with candles, a tablecloth, and dinner setting • Close-up of Laertes face when he is talking to Ophelia

• Typical father/son conversation between Laertes and Polonius • Rapid flashes of images throughout Polonius speech to Laertes (close friends hugging each other, people fighting, nicely dress young man, foreclosure sign) • Audio track over images during Polonius speech Back Home Studios

Executive Producers: Blake Briscoe, Kylee Emert, and Sydney Schein Director: Sallie Mesker Author: William Shakespeare

Production Planning Story Board • Talking about Hamlet and the need for Ophelia to obey her father • Close-up of Ophelia’s face when she is speaking to Polonius

“Sex and the City” music theme transitions audio track from the end of the act through the credits

Production credits

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Executive Producers: Blake Briscoe, Kylee Emert, and Sydney Schein Director: Sallie Mesker Author: William Shakespeare

Script BEGIN ACT ONE Music fades Wide camera shot of Laertes and Ophelia Laertes:

My necessaries are embarked. Farewell. And sister, as the winds give benefit and convey assistant, do not sleep, but let me hear from you.

Ophelia:

Do you doubt that?

Laertes:

For Hamlet, and the trifling of his favor, Hold it a fashion and a toy in blood, A violet in the youth of primary nature, Forward, not permanent, sweet, not lasting, the perfume and suppliance of a minute. No more.

Ophelia:

No more but so?

Laertes:

Think it no more. For nature, crescent, does not grow alone in thews and bulk but, as this temple waxes, the inward service of the mind and soul grows wide withal. Perhaps he loves you now, and now no soil nor cautel doth besmirch the viture of his will; but you must fear. His greatness weighed, his will is not his own, for himself is subject of birth. He may not, as unvalued persons do, carve for himself, for on his choice depends the safety and the health of this whole state. And therefore must his choice be circumscribed unto the voice and yielding of that body whereof he is the head. Then, if he says he loves you, it fits your wisdom so far to believe it as he in his particular act and place may give his saying deed, which is no further Back Home Studios

Executive Producers: Blake Briscoe, Kylee Emert, and Sydney Schein Director: Sallie Mesker Author: William Shakespeare

Script than the main voice of Denmark goes withal. Then weigh what loss your honor may sustain if with too credent ear you list his songs, or lose your heart, or your chaste treasure open to his unmastered importunity. Fear it, Ophelia; fear it, my dear sister, and keep you in the rear of your affection, out of the shot and danger of desire. The chariest maid is prodigal enough if she unmask her beauty to the moon. Virtue itself escapes not calumnious strokes. The canker galls the infants of the spring too fit before their buttons be disclosed, and in the morn and liquid dew of youth, contagious blastments are most imminent. Be way, then. Best safety lines in fear. Youth to itself rebels though none else near. Camera moves to close up of Ophelia Ophelia:

I shall the effect of this good lesson keep as watchman to my heart. But, good my brother, do not, as some ungracious pastors do, show me the steep and thorny way to heaven, whiles, like a puffed and reckless libertine, himself the primrose path of dalliance treads and recks not his own rede.

Camera moves to close up of Laertes Laertes:

O, fear me not.

END ACT ONE Back Home Studios

Executive Producers: Blake Briscoe, Kylee Emert, and Sydney Schein Director: Sallie Mesker Author: William Shakespeare

Script BEGIN ACT TWO Enter Polonius Camera close up of Polonius walking to table and sitting down Laertes:

I stay too long. But here my father comes. A double blessing is a double grace. Occasion smiles upon a second leave.

Camera moves to a wider view of both Laertes and Polonius Polonius:

Yet here, Laertes? Aboard, aboard, for shame! The wind sits in the shoulder of your sail, and you are stayed for. There, my blessing with thee. And these few precepts in they memory look thou character.

Camera moves to a close up of Polonius Give thy thoughts no tongue, nor any unproportioned thought his act. Be thou familiar but by no means vulgar. Those friends thou hast, and their adoption tried, grapple them unto thy soul with hoops of steel, But do not dull thy palm with entertainment of each new hatched, unfledged comrade. Beware of entrance to a quarrel, but, being in, bear it that the opposed may beware of thee. Give every man thy ear, but few thy voice. Take each man’s censure, but reserve thy judgment. Back Home Studios

Executive Producers: Blake Briscoe, Kylee Emert, and Sydney Schein Director: Sallie Mesker Author: William Shakespeare

Script Costly thy habit as thy pursue can buy, but not expressed in fancy – rich, not gaudy – for the apparel often proclaims the man… …and they in France of the best rank and station are of a most select and generous chief in that. Neither borrower nor a lender be, for loan oft loses both itself and friend, and borrowing dulls the edge of husbandry. This above all – to thine own self be true… …and it must follow, as the night the day, thou canst not then be false to any man. Farewell. My blessing season this thee. Laertes:

Most humbly do I take my leave, my lord.

Polonius:

The time invites you. Go, your servant tend.

Laertes:

Farewell, Ophelia, and remember well what I have said to you.

Ophelia:

‘Tis in my memory locked, and you yourself shall keep the key of it.

Laertes:

Farewell

Laertes exits END OF ACT TWO

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Executive Producers: Blake Briscoe, Kylee Emert, and Sydney Schein Director: Sallie Mesker Author: William Shakespeare

Script BEGIN ACT THREE Camera on wide view of both Polonius and Ophelia Polonius:

What is it, Ophelia, he hath said to you?

Ophelia:

So please you, something touching the Lord Hamlet.

Polonius:

Marry, well bethought. ‘Tis told me he hath very oft of late given private time to you, and you yourself have of your audience been most free and bounteuous. If it be so – as so ‘tis put on me, and that in way of caution – I must tell you, you do not understand yourself so clearly as it behooves my daughter and your honor. What is between you? Give me up the truth.

Ophelia:

He hath, my lord, of late made many tenders of his affection to me.

Polonius:

Affection! Pooh, you speak like a green girl, unsifted in such perilous circumstance. Do you believe his “tenders,” as you call them?

Ophelia:

I do not know, my lord, what I should think.

Polonius:

Marry, I will teach you. Think yourself a baby that you have taken these tenders for true pay, which are not sterling. Tender yourself more dearly – or not to crack the wind of the poor phrase, running it thus – you’ll tender me a fool.

Ophelia:

My lord, he hath importuned me with love in honorable fashion. Back Home Studios

Executive Producers: Blake Briscoe, Kylee Emert, and Sydney Schein Director: Sallie Mesker Author: William Shakespeare

Script Polonius:

Ay, “fashion” you may call it. Go to, go to!

Ophelia:

And hath given countenance to his speech, my lord, with almost all the holy vows of heaven.

Polonius:

Ay, springs to catch woodcocks. I do know, when the bloods burns, how prodigal the soul lends the tongue vows. These blazes, daughter, giving more light than heat, extinct in both even in their promise as it is a-making, you must not take for fire. From this time be somewhat scanter of your maiden presence. Set your entreatments at a higher rate than a command to parley. For Lord Hamlet, believe so much in him that he is young and with a larger tether may he walk than may be given you. In few, Ophelia, do not believe his vows, for they are brokers not of that dye which their investments show, but mere implorators of unholy suits, breathing like sanctified and pious bawds the better to beguile. This is for all: I would not, in plain terms, from this time forth have you so slander any moment leisure as to give words or talk with the Lord Hamlet. Look to it, I charge you. Come your ways.

Ophelia:

I shall obey, my lord.

END ACT THREE

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Executive Producers: Blake Briscoe, Kylee Emert, and Sydney Schein Director: Sallie Mesker Author: William Shakespeare

Production Notes Pre-Production – Saturday November 15th During the pre-production stage of the project, our group decided on the theme of “Sex and the City,” where characters discuss their thoughts at a table in a restaurant, similar to the show. The four of us agreed to implement this by using the “Sex and the City” theme as an introduction to our movie. The setting would encompass using a bar table with candles, silverware, and a tablecloth. The name of the restaurant is Denmark’s Rotten Pub. Our next step involved assigning a particular character to each student to play in the scene. Sallie Mesker was assigned the role of director. Production – Thursday November 20th During the production stage of the project, our group had to make several important decisions, such as camera angles, close-ups, the number of times to repeat a scene, and how to make our lines appear natural. The first decision our group made was that the sign for the restaurant would be placed on the wall, adjacent to the table in Blake’s house. There were several lengthy speeches performed during our scene. Before filming, it was necessary to make cue cards of the speeches. Although this significantly helped, the lines appeared as if they were being directly read. This dilemma was solved by giving Kylee (Laertes), a menu in which she could hide her script at the beginning of her first speech and by moving the cue cards to an area where the actors could see them while still directly looking at the other person in the scene. Sallie also filmed each scene a few times so our lines would appear more natural. The actors ate some food and drank water during the scenes so the scenes would resemble a typical dinner conversation. Our director filmed the appearance of a waitress, played by Blake’s mother, at the beginning of the scene to reveal the setting. Each scene was filmed from a variety of camera angles so that there would be a choice as to which one to use during the post-production stage of the project. There were several parts in which characters touched each other to show their affection for one another. Sallie filmed close-ups of the food, the restaurant, and the character’s faces to indicate to the audience that the setting is a restaurant, and to show the expression on the character’s faces during their speeches. Our group decided not to film the scene in the dark because the actors would be unable to see their lines during the scene.

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Executive Producers: Blake Briscoe, Kylee Emert, and Sydney Schein Director: Sallie Mesker Author: William Shakespeare

Production Notes Post-Production – Monday November 24th through Wednesday December 3rd The group edited certain parts of the scene, primarily, choosing what and where to cut. In addition to this, parts of the scene have been rearranged in an order that makes sense. The song has been purchased and attention will be made to copyright laws. It was very difficult to decide which part of the song to use in the movie. The group made the decision to put the song into garage band, enabling the scene to use more of the song. The group had to do voiceover on certain parts because the audio got cut off or was not satisfactory. The group has met every day to edit the movie. The final step in the editing process involved making titles at the beginning and end of the scene and cutting out multiple audio clips of the same thing. Overall, the editing of the movie was a very time consuming process. On December 4, 2008, the group will burn a DVD of the final product.

Works Cited Knightsbridge. “Sex and the City (Main Theme).” Ultimate Movie Themes, Vol. 1. Suite 102, 2008. Shakespeare, William. The Tragedy of Hamlet Prince of Denmark. Folger Shakespeare Library. Ed. Barbara Mowat and Paul Werstine. New York: Washington Square Press, 1992.

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