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Final Project


For the final project, you have several choices. You can work individually, or you may work as a group. You also have several different topics that you can choose from. You can opt for a creative project of your choosing involving film, which could include making your own film. If you select this then I will work more closely on the details with each individual group or person. Or, you can do a historical movement or genre project.


No matter which project you choose, you (individually or as a group) will write a brief 150 word project proposal outlining your idea for your final project below.


Catherine Mashburn

For my final project, I plan on creating a trailer for a movie idea I have. In brief, the story is about a man who loses the love of his life or wife in some kind of tragic accident. He lives the house they shared to come back to it years later. When he finally returns, he finds it haunted. I don’t want to say much more about it just yet. (I’m afraid of spoiling it!) I will be filming short clips and scene and editing them together to create a preview-ish final product. The acting will be minimal. Only one or two scenes will contain the original dialogue. The rest are going to contain voice-overs. I will also have an eerie song playing throughout the preview. So far, I’ve already completed most of the filming minus one scene. I’ve completed some rough editing, however I have much touching up to do.


Nilufer Mehta

For my final project, I will be working with Alex Jones. We decided that we will both work on a script and a storyboard based off that. While Alex works on the script, I will be working on the storyboard. The main synopsis is of a man who works with a company that deals with karma; punishment and rewards. He basically goes around giving people what they deserve. The story board will cover the whole script incorporating the more important scenes in a sequential order. The storyboard will be in color, and contain dialogue bubbles for the characters. Underneath each image there will be a short description of the cinematography we would use if we were to film this scene. This would include basic editing, camera movements and distances, color overtones and hues as well as music if any. Hopefully the story will humorous and entertaining for the class as well as demonstrate how the script and storyboard of a film are interlinked and makes for an excellent draft for the overall production.


Alex Jones

For the final project, Nilufer and I are doing a creative project. We will be writing a script and then story boarding the important scenes from that script. I will be taking care of most of the script writing, while Nil will be handling the story boarding aspect. The story revolves around a man whose job it is to readjust the karmic balance of the universe – both good and evil – whether it’s through use of violent force, or through random acts of kindness/cruelty. As the writing portion of the film will mainly be in my hands I will be responsible for most of the characterization done through dialogue, though the idea for the plot was crafted by both of us. The script, when finished, should come to about 10 pages, double spaced, and will include the dialogue as well as important aspects of cinematography (such as the framing of shots) which will be decided by both of us.


Leticia Dieppa, David Tamayo

For our final project, we decided to purchase the game the Movies and create our movie studio where we hire builders, write scripts, Hire actors and directors, casting, shoot your movie and finally release the movie. We get to watch the final product and depending on how good our studio’s capital goes up or down. We begin in the year 1920 and as we advance in the game we advance through time and more resources become available such as new sets, new decorations, and new crew. As our studio makes progress we become eligible for awards every five years. Awards such as: best director, best lot, and best films. We are currently in the year 1926 and unfortunately have not won any awards yet. We would like to show the class our studio after a couple years and show the different films that we have created and the progress we’ve made as directors.


Amanda Jackson


My final project will be a music video for Weather Machine, a local Gainesville band. It is an upbeat rock/reggae song about one of the band member’s girlfriend accusing him of being lazy. The song is titled “For Love of my Couch” and emphasizes the value of simply enjoying the company of loved ones as opposed the saving the world. I have shot several scenes so far and will be shooting the rest of them by the weekend. In the video, the lead singer enters the living room and sits down on the couch where he remains for the rest of the night. As he sits and watches TV, life happens around him and I show this by speeding up the film and moving the lights to show the passage of time. He falls asleep and dreams that he is a mock Superman until he is awakened by his girlfriend who proceeds to reprimand him. He leaves and is replaced by his girlfriend on the couch who gets a hold of a special TV remote that seems to transport the band members to various situations which she watches on the TV. They find themselves (the band members) practicing in their studio, at a show, and then out on a field in superhero costumes where they are pursued by a giant globe with the intention of crushing them. She is overcome by anxiety and somehow manages to transport them back to the couch right before they are all massacred by the giant globe.


Carlos Baez


For the final project I was planning on doing a sort of avant garde short film. My idea would be to show the differences and the interaction of nature vs. technology. I would explore this through images that show their relationship and also how they contradict each other at times. I'd like to explore the idea that we are becoming more and more technologically advanced, to the point where our society relies too heavily on it. This can be seen often when technology is seen as more important than nature. Along with the images I would also compose the music to go along with the images. The music could parallel the images in the way they both progress, not only rhythmically, but also technologically. The music would mirror the images of nature with music that is more acoustic/organic and the images of technology would have music that used technology through various means.


Alan Alvarez


For the final project i was planning on doing a kinda documentary on how comedy has evolved. I mainly wanted to do this so that i can make a scene that involves the Benny Hill music, yakety sax. The one thing i haven't decided yet is whether to use live action (ie. film my own examples of how it has changed), use clips from films already, or see what that movies game has to offer. It'll more than likely involve a mix of all of them. Basically ill start back in the 1930's and work my way up to the present documenting all the different types of comedies that have emerged.


Matthew Bucks


For my final project I was planning on creating a short comedy film of about 8-10 minutes called Binge. The story was inspired by a friend of mine with a serious drinking problem and his ability to somehow maintain a job and stay enrolled at UF. I have a fifteen page script worked out and storyboarded. We started filming about a month ago, but since then the lead role has left the project. Because of this, the project has been put on hold and I have decided that I will be making a trailer for the film instead. The trailer will involve various techniques like tracking shots, voice-over, and different angles. It will be shot in a more avant garde type format. If, for some reason, this doesn’t work out, I’ve considered making a film using The Movies video game.


Emanuel Alex

My first idea revolves around four different songs. The movie starts at a party and “The Sound of Settling” by Death Cab for Cutie is playing. My two roommates egg me on to talk to a girl. The blonde roommate points me toward a blonde bombshell while the brunette roommate points me towards a beautiful brunette. We flip a coin to decide which one I’ll talk to. They sit across the room and looks identical; the way the sit, the chairs, the drinks in their hands, even their expressions. The next two scenes are what would happen if I talked to one girl and then the other. The scenes are identical, with the same song playing in the background, yet different versions. We go to the same places, do the same things, everything the same. The editing will be completely different though. The upbeat version of the song will have a bright filter and will be sped up. The acoustic version of the song will have a blue filter, will be slowed down, and will be portrayed in a more melancholy fashion. The final scene is of me on bedside, back to the girl, its not clear which one at first but then it becomes apparent it doesn’t matter. The song lyrics say, “ she's beautiful, but she don’t mean a thing to me”.

My second idea is basically an Avant-garde film. The film will be a splicing of songs, film clips, images, sounds, text, quotes, light, colors, and sounds. There will be a lot of strange angles, strange lighting, and weird editing techniques. I do not have a meaning behind it yet, it will emerge as I put it together.

I feel that my second idea will be a lot more interesting for an audience to watch. The first idea, if done right could also be very entertaining, but the second idea allows me to explore more visually and depends less on actors and other variables.


Robert Newman

For my final project I wanted to make a humorous film of some sort. When I was in high school I was in a cinematography club and we would make short movies. They were never scripted but we always started with an idea and then improvised. My idea is that I play an outcast who gains acceptance from his peers by learning to play basketball. I like this idea because there is a definite need for a funny montage scene.


All his life Alan Hamberger has been a nerd. He was the captain of the chess team and the only contact he had with the jocks is when they were dunking his head in the toilet. But now things are going to change. With the help of a few “ cool” kids Alan is going to learn how to fit in. Learning to play basketball is only the first step in the rebirth of cool that is Alan Hamberger.


Reid Siljestrom

First idea: A film in german depicting the daily life of a german exchange student. For the protagonist, adjusting to American culture while searching for a meaningful relationship proves difficult. The American girls are coquettish and shallow. While the other German exchange students dont offer him anything new or exciting. On top of this he has to balance a heavy course load. I will make use of the film techniques we have discussed in class to film this movie.

Second Idea: A research paper examining "Lolita" by Vladimir Nabakov and it's adaptation to film by Stanley Kubrick. Possibly discussing cinematography, theme, narration, etc.


Chris Spence

For my final project I pan on creating a short story/music video using computer animation. I will have one main character that lives in a house on a small island. His dream is to get off the island and reach into outer space. In order to fulfill his dream he has built a cannon to launch himself into the sky. Everything will be animated in Maya animation software and the video will include the instrumental of Kanye West’s “Touch the Sky.” The video will begin with the music playing as my character wakes up and gets out of bed. He will see a calendar which his has been using to count down the days until liftoff. He burst out off his house, jump in his cannon and blast into the air. I plan on using multiple camera angles, and different lighting effects. There will be not dialogue spoken but text will be written out on a black background between the action similar to a Charlie Chaplin film.



Tito Alverio

I plan on using several film techniques that we learned during the semester to make maybe 3 short clips. The clips will first be shot using boring handheld cameras that amateurs would normally use when filming. Then, using awesome "Mood Affecting Movie Enhancers," we will do these same clips, but achieve a dramatic quality that will make audiences behave more moodily, thanks of course to the "Mood Affecting Movie Enhancers." Ideas that I might shoot include a war with nerf guns and water guns, an intense Nintendo Wii Battle Royale, and some other idea. The shorts will be dull and boring at first, but with the "Mood Affecting Movie Enhancers," I think the audience will simply be blown away, with nice touches like dramatic music, and overused camera zooming.

This will be a Tito Alverio directed film, "Wroted by Tito Alverio," and Oscar worthy acting by Tito Alverio.

The Script

Karmic Vengeance

Written by Alex Jones and storyboarded by Nilufer Mehta


Scene 1: INT. Office. The camera angle is high giving us a view of the two rows of cubicles running parallel. The office should look very normal, and very symmetrical. Employees are going about their work. Slowly the camera begins to move forward panning across those two rows of cubicles. In one cubicle a phone rings and the woman at the desk picks it up


Woman: Karmic Adjustment services, this is Melissa speaking, how may I direct your call?


Cut to a medium range shot of a Man in his mid-thirties sitting at his desk in a little cubicle. This is Frank Harris, our hero. The desk is cluttered with paperwork and Frank is bent over diligently doing his work.


Frank: Christ, I hate paperwork.

Chief: Then maybe you oughta think about revising you methods, Harris. No one at this agency is as messy with his cases as you are.


Cut to medium range shot of the chief. The camera is positioned just behind Frank, who swivels his chair to face the chief, giving us a look over his shoulder. There is a man standing next to the chief, partially obscured by the wall of the cubicle.


Frank: I get the job done, don’t I, Chief?

Chief: (Shaking his head) Harris, I’ve had more complaints about you than any other field agent. I’m assigning you a partner.

Frank: Hold on a second Chief, there’s no need for-

Chief: Cram it Harris! I’m tired of your wild card attitude. (Chief gestures to the man hiding behind the cubicle wall) This is Arthur Maxwell; he’s going to be joining you in the field for a little while.

Arthur: (suddenly paying attention) I am?

Frank: Chief this job doesn’t really take two people. Another agent on the field would just draw attention to what we do.

Arthur: Wait a second, what’s our job here exactly?

Frank: Are you serious? Chief, is he serious? (To Arthur) How do you take a job without knowing what you’re going to be doing?

Chief: That’s enough Harris. Arthur here is a claims adjuster. You could say he’s been hired as a sort of consultant.

Frank: You mean he’s an insurance agent? Just what the hell am I supposed to do with him?

Arthur: I’m a little confused myself. What is it exactly that I’ll be doing here?

Chief: It’s pretty much the same as claims adjustment. You’re going to help Agent Harris here do his job more efficiently. He’ll fill you in on what that is exactly.


A secretary walks by in the background carrying a huge stack of files.


Chief: Oh I almost forgot. (He takes the huge stack and shoves it into Arthur’s chest) These are the complaints we’ve had against Agent Harris to date. Go through these and you’ll get an idea of why exactly you’re here.

Arthur: Uh, thanks.


The Chief exits leaving Arthur staring awkwardly at Frank. Frank swivels his chair around and goes back to his paper work. He scribbles a few lines on a form before turning back to Arthur.


Frank: Can I help you?

Arthur: I’m a bit confused…

Frank: (Going back to his work) I can see that.

Arthur: Well, aren’t you supposed to… brief me, or something?

Frank: I’ve got kind of a lot of work to do right now. Why don’t you set up over there somewhere (He waves his hand in an arbitrary direction without looking up) and I’ll just come and get you when I need you.

Arthur: Now look, I don’t really know what’s going on here, but I know you’re supposed to enlighten me and I’m not leaving until you do.

Frank: Suit yourself.


There is a pause of about 12 beats, during which time the camera goes back and forth between Arthur and Frank. Each time the camera goes back to Arthur he looks more uncertain, shuffling his feet and glancing in other directions.


Arthur: Please?

Frank: God, you’re pathetic. Alright come on.


Frank gets up, and walks past Arthur. Camera switches to a shot of the aisle. Frank walks briskly off screen leaving Arthur by the cubicle. He sets the files down and walks off screen. After a quick beat Arthur doubles back to retrieve the files.


Scene 2: Ext. The city. The camera is positioned at eye level from across the street. On the other side of the street, Arthur and Frank are getting into a car.


Arthur: Where exactly are we going?


The camera cuts to a scene on crowded street.


Frank: (voice over) Rounds.


A very visible woman (the color of her dress should be striking, for example, bright red among a crowd of black and brown suits) suddenly as her purse snatched by a young man wearing street clothes. He has to push through a number of people, knocking them down, in order to get away.


The camera cuts to Frank and Arthur in the car.

Frank: (looking over at Arthur from the driver’s seat) You really have no idea what we do, do you?

Arthur: No sir. Maybe you should pay more atten-

Frank: Don’t call me sir. It’s just Frank. Or call me agent Harris if you prefer, but we’re not really an official organization so that’s not necessary.

Arthur: Frank, fine. Do you think you could watch-?

Frank: (looks back to the road for a second long enough to honk slam on the breaks and shout an obscenity before looking back at Arthur) So what do you want to know?

Arthur: (Arthur has his eyes closed and has started praying. He stops to answer Frank’s question.) What I want to know? Uh, well maybe you could just tell me what exactly our company does?

Frank: Sure. (He points a spot on the side of the road.) Let’s park there for a bit.


The camera cuts back to the purse-thief, who’s now panting and looking carefully for any sign of pursuit.


Frank (voice over): Karma.

Arthur (voice over): Karma? As in, Buddhism?

Frank (voice over): Exactly.


The camera cuts to Frank and Arthur. They are walking along the sidewalk, Arthur still holding his load of files. Frank is alert, scanning the streets for something while Arthur still looks confused.


Arthur: I’m not sure what you mean. Are you missionaries or something?

Frank: What? No. The agency started some hundred-odd years ago. Someone decided they were going to take it on themselves to readjust karma.


Up ahead a bully is harassing a smaller child. He is bent over enough so that his back pocket is in perfect view. As Frank and Arthur approach him, Frank slips his hand in the bully’s back pocket and extracts his wallet. Before they pass Frank trips and bumps into the bully, knocking him over long enough to let the smaller child escape.


Arthur: Did you just take that kid’s wallet?

Frank: What did I just finish telling you? Anytime someone commits an act that earns them some negative Karma we punish it so their Karma goes back to zero. Likewise, if someone commits an act that earns them positive karma we reward it so that they too have a net of zero.

Arthur: That’s insane. Who funds something like that?

Frank: Who knows? We’ve always had investors. The Chief seems to think its some Buddhist or Hindu with a lot of money to burn.

Arthur: (sarcastically) Oh, of course. How stupid of me.


Cut to a wide angle shot of a crosswalk. Frank and Arthur cross the street and as they do so Frank rifles through the wallet. Behind them a man helps an old woman cross the street. On the other end of the cross walk, Frank drops the money he retrieved from the wallet on the ground and he and Arthur walk off screen.


Frank: (Pointing) Let’s go in here for a second.


We wait a few beats for the man and old woman to finish crossing the street. The camera zooms in as the man looks down and finds the money.


Cut to a medium range view of the purse thief. He still holds the purse and is looking pretty smug. As we cut to a high angle shot the thief bumps into someone on the sidewalk and moments later, holds up a wallet for inspection. There is a shout from off screen. The thief looks over his shoulder and takes off through the crowd again.

Cut to Frank and Arthur getting into the car. Cut to an interior shot of the car. Frank pulls out a cigarette and lights up.


Arthur: I’d really prefer it if you didn’t smoke.

Frank: I’d prefer it if I did.


Arthur frowns and starts looking through the files at long last. The camera pauses on him a few beats as he slowly flips through the pages. He looks more anxious the more he reads.


Arthur: Dear, God. (He flips through a few more pages) Holy Christ, I can see what Chief Richards meant about your methods.

Frank: You don’t know what you’re talking about. Everyone in those files just got the Karmic backlash they deserved.

Arthur: (Reading) You pushed a woman down a flight of stairs?!

Frank: Trust me, she deserved it.

Arthur: It says she was pregnant! And that’s not even the worst thing in here. I mean if you were to just adjust the person’s Karma several times but only a little bit each time, I think you would have a lot fewer complaints. Think of it as like taking payments on their karma. Your methods as they are now are ridiculously extreme.


Cut to a medium range follow shot of the thief. He is running through the crowd looking back every few seconds. Cut back to the interior of Frank’s car, with a profile shot of Frank.


Frank: Look I’ve already toned down my methods. You saw me today. When we get back you can just go ahead and tell the chief you aren’t needed.


Cut to the follow shot of the thief, as he runs pushing through the crowd. The camera keeps pace with him until the thief starts to cross an intersection. The camera stops dead in the middle of the intersection. There is a car already very close to the camera. The thief is hit and a loud thunk sound effect plays. The camera immediately cuts to the interior of Frank’s car.


Arthur: (looking up from the files) What was that?!

Frank: What was what? (Frank turns on the radio)

Radio: …Lost their lively hood today when CEO Joseph Fairfax made the decision to lay off more than 8,000 employees from his subsidiary companies in favor of outsourced workers.

Frank: Ugh, Fairfax again.

Arthur: You’ve heard of him before?

Frank: You mean aside from the terrible things they say about him on TV? Yeah, he’s kind of a legend around the office. His file’s been passed around the office at least four dozen times.

Arthur: I’m guessing that’s not a good thing?

Frank: He’s racked up more negative karma than everyone except Hitler.


Cut to a close up of the radio as Frank switches it off.


Scene 3: INT. Elevator. The camera is positioned behind Frank and Arthur. There is a ding and the doors open. Cut to a front shot of the two, they stare at something beyond the camera. Cut to a behind shot to reveal that it is the Chief that the two are looking at. He hands Frank a piece of paper.


Chief: Good timing, Harris. You’ve just been transferred to the Fairfax case.

Frank: Fairfax? You’ve never put me on anything that big before. What gives Chief?

Chief: I think your particular methods might be called for in this case. Just read that fax we just got, it ought to explain everything. (To Arthur) Sorry to do this to you on the first day.


Cut to a close up of Frank’s face. The lower half of his face is obscured by the page. Cue dramatic music. Frank’s brow furrows and we cut to a close-up of his fist crushing the paper.


Frank: This is too much. He’s left us with only one option.


Cut to a close-up of Frank’s face. His look is intense and his glare is angled just slightly downward.


Frank: We have to kill him….


The camera cuts to a behind view of Frank and Arthur as the doors of the elevator close. Quick cuts in succession of first the elevator door opening and Frank storming out with Arthur on his tail. The next cut is Frank and Arthur hurriedly getting into the car and slamming the doors. The next cut is the car practically flying into a parking space and Frank and Arthur emerging from the vehicle. The fourth and final cut is the door of the elevator in the Fairfax building opening. Frank and Arthur step inside and the door shuts behind them. Then we cut to the interior of the elevator.


Arthur: We must have made it across town in record time. What was in that fax that’s got you like that?

Frank: You remember Enron?

Arthur: Yeah, but what’s that got to do with-

Frank: You know about Halliburton right?

Arthur: Of course I do, but-

Frank: And I’m sure you recall Martha Stewart’s little insider trading fiasco.

Arthur: Yeah, I remember, but-

Frank: And who could forget the Iraq War?

Arthur: Are you saying that the same man is some how responsible for all of those things?

Frank: Yes. Plus he killed Anna Nicole.

Arthur: And that was all on that little fax you got?

Frank: Yep. Cold hard evidence that he’s the one behind all of those things, all in one tiny little fax.

Arthur: That’s kind of farfetched don’t you think?


The elevator doors open to reveal a completely bare reception room. There is a desk at the far end of the room, next to a door and nothing else in the room at all. Frank and Arthur step out and the secretary sitting at the desk looks up.


Secretary: Can I help you?

Frank: We’re here to see Joseph Fairfax.

Secrt: I’m afraid he’s in a meeting at the moment. If you’ll just take a seat I’m sure he’ll be done soon.


Frank just stares at her while Arthur looks around the room. There is not a single chair in the room beside the one she is sitting on. Arthur takes a seat on the floor.


Frank: (moving toward the door) Come on, Arthur, we’ve got work to do.

Secrt: You can’t go in there! He’s in a meeting.


Frank opens the door and enters the office, with Arthur tagging along behind him. The secretary gets up to stop them but Frank slams and locks the door behind him. A pan of the office establishes the space. There are shelves filled with trophies, with a memento from each sport next to each trophy. Most notably are the trophy for javelin tossing and the very sharp looking javelin sitting next to it. On the other end of the room is Fairfax himself.


Fairfax: It seems my secretary does not understand the meaning of the words, “no interruptions”.

Frank: Fairfax, you’ve gone too far this time.

Fairfax: I’m sorry, who are you again? I don’t recall there being a last time.

Frank: Agent Frank Harris, from the Karmic Adjustment Agency. You’ve become too much of a time consumer, Fairfax. We’re here to balance your Karma for the last time.

Fairfax: Karmic….what? I don’t get it do I know you personally or something?

Frank: No. And you never will.

Fairfax: I beg your pardon but are you saying you’re here to kill me?

Frank: You got that right.

Fairfax: Do you even have a weapon?

Arthur: I was sort of wondering that myself.


Cut to a shot from Behind Fairfax’s desk. He opens a drawer and takes a gun out. He gets up from his desk and points it toward Frank.


Fairfax: You seem somewhat ill-prepared.

Frank: Yeah, I’m starting to realize that.


Frank glances at the shelves of trophies to his right and quickly snatches one from the shelf. Fairfax fires a single shot before Frank can toss the trophy at him. The shot misses, blowing a hole in the wall instead. The trophy hits Fairfax and stuns him long enough for Frank to charge forward and wrestle the Gun from his hand. The gun slides across the floor but Frank and Fairfax are still locked in struggle.


Frank: Arthur, toss me the gun.

Arthur: I can’t find it. Where did it go?

Frank: It’s right there!


Arthur searches for a second but can’t find it. As an alternative he tosses Frank the javelin.


Frank: A javelin? Really? A javelin, Arthur?


Frank pushes Fairfax back and with a single motion throws the javelin into Fairfax’s throat. Fairfax backs up toward the window with the force of the blow. Suddenly there is a Bang! and Fairfax’s chest sprouts blood. The force of the gunshot and the javelin combined carry him into the window, which breaks and allows Fairfax to fall back to his doom.

Cut to an exterior shot of the building. It is a long range shot with the building on one side and the other half of the shot asymmetrically empty. On his way down he is struck by lightening.

Cut to Frank and Arthur, framed by the broken window, looking out.


Frank: Did you just shoot him?

Arthur: Yeah.

Frank: Cool. Thanks.

Roll credits. The End.

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