For God and Country | movie | 2009 | Official Featurette
An army reservist is forced to face the sins of his past in the aftermath of America's second Civil War. | dG1fMkF4emlKSWZzSnM
Category
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Short filmTranscript
00:00 Do you want a shot from out here as the doors open?
00:05 Or is that going to be like door shot, door shot, door shot?
00:08 Yeah, that'll be overkill.
00:09 I just want like...
00:11 Well, no, let's just do it.
00:13 Because, I mean, what if you just want to make some quick cuts?
00:17 We don't have to have really long cuts with doors flying open.
00:19 Okay.
00:20 These are the doors, by the way.
00:22 The doors that our general is going to...
00:24 Where's my light?
00:26 How about...
00:27 Doors that our general is going to throw open as soon as he knocks out our protagonist over there.
00:34 These big, heavy, rusted, corroded doors.
00:41 Hopefully they will stand the impact of take after take.
00:44 And hopefully, well, we won't even have to do take after take.
00:47 It'll just happen.
00:50 And we'll go over here for a shot of everybody being going up.
00:57 Yeah, low shot from this angle.
01:00 And maybe...
01:01 Low shot from what? What are those?
01:03 You know, I'm not sure.
01:05 Low shot from the roundabout.
01:08 This is where they'll come out.
01:11 And they'll come up these stairs.
01:15 And we will cut before they get to the top.
01:18 And we see that...
01:22 Go around, Josh.
01:23 That this is not the spot where the end of the movie is.
01:29 Even though it's pretty deep, it's not quite as impressive as the place we're going to next.
01:38 Yay, done.
01:40 Alright, so we're going to place the ARRI up here.
01:45 And I'll get a shot of the doors swinging open.
01:50 Just because...
01:53 The braces for the door look cool from up here.
01:56 Yeah.
01:58 Or whatever that thing is.
02:00 Yay.
02:02 Onward and upward.
02:05 Well, you know what? I'm going to park the lights up there.
02:08 It's all going to be in silhouette.
02:10 Here's our pit.
02:12 The Tomb of Despach.
02:15 Man, that's not 12 feet.
02:17 Yeah, it doesn't look 12 feet, but...
02:20 12 feet in diameter.
02:23 Rusted, corroded.
02:29 I have to make this look bottomless in post.
02:33 No problem.
02:34 No bloody problem.
02:39 12 feet.
02:41 Lots of...
02:44 Just to give you a sense of scale.
02:49 There's Josh.
02:54 So our character is going to be coming up.
02:56 I guess we'll have another shot of them just coming up these stairs.
03:00 Just a little bit of walking around.
03:05 Now, of course...
03:09 Well, I could probably do a...
03:11 Sorry.
03:12 I'm just shaking the camera around.
03:15 Of course we've got all these lovely, lovely text.
03:25 On the wall.
03:28 We're going to shoot the people coming up.
03:30 And then our extras will stand around here.
03:33 The spectators.
03:35 I'm trying not to get any of this.
03:40 Or the...
03:41 I know.
03:42 Or any of the Meriwether Lewis sign.
03:48 I'll try to slow down.
03:57 Behind the sun.
03:58 Were you going to say something?
04:00 Well, I guess we should start...
04:02 Start blocking.
04:03 Start blocking.
04:05 Okay.
04:06 This is where we would be recording the...
04:09 When Jonathan comes down from the cannon, he will end up here.
04:16 Find the flashlight hanging from a pair of BDUs suspended from these hooks.
04:24 Call out into the darkness.
04:30 And stumble upon the soldiers in this room.
04:37 Probably gather around this little pit in the floor.
04:40 Or however.
04:42 We can do this scene pretty much the same way as the end confrontation scene.
04:46 We'll put the Ari in that little spot right there for some hard moonlight.
04:52 See how Josh is kind of...
04:56 Just the way the light is responding to his ugly face.
05:02 And we'll just have the guys come in.
05:05 Be sitting.
05:07 We can flood light in from over here.
05:10 If the moon isn't doing a good enough job for us.
05:13 You know, why don't we have...
05:22 Why don't we have the ghosts...
05:27 We'll have Jonathan back out this way.
05:30 Oh yeah.
05:32 Sorry.
05:35 So when he swings the rifle at him.
05:40 He'll chase him into the darkness.
05:43 And he can go this way.
05:45 Yeah.
05:47 I can't f*cking see.
05:49 He can just come in through here.
05:52 And then we can start our new role.
05:56 You know.
05:57 Yeah.
06:04 So.
06:06 Right.
06:27 Over.
06:29 To.
06:32 Soldiers.
06:36 Sitting.
06:38 Under.
06:42 Moonlight.
06:50 Soldio.
06:51 Soldio. Yep.
06:58 Alright.
07:05 This is how you shoot dialogue close up on somebody.
07:07 Jonathan.
07:12 Yeah.
07:18 Sitting under moonlight.
07:19 So I imagine right here is good.
07:21 Yeah.
07:23 As...
07:26 So as the dialogue progresses.
07:29 Jonathan can be kind of coming around this way.
07:33 And looking into various doorways.
07:36 And he can stop here.
07:41 Like, and Robert will be like getting up saying.
07:45 That in our sleep part.
07:48 You know.
07:49 And then.
07:52 I'm going to want him to swing.
07:54 Like.
07:56 Right here.
07:57 So he has.
07:59 He has a bit of a.
08:00 He's got a.
08:01 Just has a way of hitting against the wall.
08:03 Yeah.
08:04 So we're going to have that.
08:06 Kind of hallway be an exit.
08:07 Yeah.
08:08 Okay.
08:09 He's going to.
08:10 He's going to go.
08:11 And.
08:14 And go this way.
08:15 Yeah.
08:16 Okay.
08:17 [BLANK_AUDIO]