맥락적인 배경
노령화의 다양한 과제들
15~20년 수명 연장
차별
노인은 비생산적이고 가치가 없다는 인식
병약한 노인이 경험하는 과제
케어에 대한 욕구와 도움이 필요한 사람이라는 스티그마에 어떻게 대처할 것인가
이러한 상황 속에서 어떻게 의미와 가치있는 역할을 찾을 것인가
선행연
frail looking, but deadly single seat
BIPLANES, each armed with twin Vickers machine guns. The height of 1917
aircraft design, built for the sole purpose of blasting German planes
out of the skies.
SUPER "FRANCE 1917"
JACK DRISCOLL and his buddy, MATT HAMON are flying two of the CAMELS at
the rear of the formation. An UPTIGHT BRIT - McKECKNIE, is flying along
side them. Hes as JUMPY AS HELL, scan
SOMEONE TO WATCH OVER ME
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by
Howard Franklin
Danilo Bach
David Seltzer
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Revisions by Danilo Bach
FADE IN:
INT. MIKES HOUSE - QUEENS - EARLY EVENING
Winter. A celebration. Close friends, cop friends,
family all here to celebrate patrolman MIKE KEEGANS
promotion to detective, NYPD.
The party spills through the house -- front room, dining
room, kitchen, with a small fenced backyard visible be
Sleepy Hollow
Being the true storie of one Ichabod Crane
and the Headless Horseman
Kevin Yagher and Andrew Kevin Walker
Based on "The Legend of Sleepy Hollow" by Washington Irving
Screenplay by Andrew Kevin Walker
A pleasing land of drowsy head it was,
of dreams that wave before the half shut eye...
EXT. GNARLED FOREST -- NIGHT
An UGLY MAN charges through on a horse, holding a lantern
forward on
frailness against the limitless scope of nature. As CREDITS
BEGIN...
TRANSITION TO:
EXT/INT ISHMAELS APARTMENT - DAY
Through a snow covered window we see a pensive, sombre young
man in his mid-20s. This is ISHMAEL CHAMBERS, lost in
thought as he pulls on his coat. We see its left sleeve
pinned up at the elbow of his amputated arm. He tucks his
slim satchel under it.
TRANSITION TO:
EXT. STRAWBERRY
THE GREEN MILE
??
Screenplay by
Frank Darabont
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from the novel by
Stephen King
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We each owe a death, there are no exceptions...
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A SONG BEGINS, distant as a faded memory on an old Victrola:
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Once I built a railroad, made it run... Made it race against
time...Once I built a railroad, now its done...Brother, can
you spare a dime...
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Opening credit sequence
??
plays against footag
The camera is moving toward an Indian city. We are high and far away, only the sound of the wind as we grow nearer and nearer, and through the passing clouds these words appear:
No mans life can be encompassed in one telling. There is no way to give each year its allotted weight, to include each event, each person who helped to shape a lifetime. What can be done is to be faithful in spirit to the
WILD THINGS
by Stephen Peters
rewrite by Kem Nunn
FADE IN:
MAIN TITLE SEQUENCE -- BLACK
INTERCUT -- QUICK FLASH-FORWARDS
INSIDE A STEAMY SHOWER -- A wet naked woman and man wrapped
around each other in ecstasy -- legs, arms, hair, mouths.
BLACK -- MORE TITLES -- then
Moonlight reflects on a vehicles shiny surface. FISTS THUD into
flesh. O.S. -- a man slams of the hood, rebounds away.
BLACK -- MOR
"GODS AND MONSTERS"
Screenplay
by
Bill Condon
Based on the novel
"Father of Frankenstein"
by
Christopher Bram
May 30, 1997
SHOOTING DRAFT
NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS
AND SOME "SCENE OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR
THIS SOFT COPY.
FADE IN:
MAIN TITLES BEGIN
Writhing pools of light and dark, out of which emerge images
from "The Bride of Frankenstein," direc
WITNESS
??
Screenplay by
EARL W. WALLACE
WILLIAM KELLEY
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from a
story by
WILLIAM KELLEY
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REVISED DRAFT
APRIL 23, 1984
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1 EXT. LANCASTER COUNTY, PA. COUNTRYSIDE - DAY
(TITLE SEQUENCE)
The faces of several young children are presented in
CLOSEUP, as they walk TOWARD US across a ploughed
field. On the SOUND TRACK, the haunting SOUNDS OF A
GREGORIAN FUNERAL CHANT. The CAMERA PANS UP to the
f