Fade to scene--pallet: blue and green--wide shot; mood: serene.
Establish view; a stock or few; pan right to view a distant two.
A hazy rim; we cut to *HIM--so *clean and prim--just as we hear the hymn...
A tear rolls down his chin. The brightness dims; music shifts to grim.
Cue the screams; cut the scene.
We're back in the now and the mood is mean.
HE'S back in a view--pallet: black and blue--the shot askew.
The mood's muted; sounds of shooting. Cue dialog:
"Look what you did..."
Camera jerks; extreme closeup: a smirk; let the ANTAGONIST work.
The wire crew's here. HERO sheds a tear. Signal stuntman on the tier.
Orchestra on my mark...
Deliver line then cut to dark.
Light's back to reality. The view won't change, you see.
There's no crew or doubles. Just a wide sea of troubles.
No second shots; no calling "CUT"; it's all open-shut.
It's not like a filmmaker's lens; it's not just pretend.
Let me script this out what you're all about:
An overconfident lout, but backlit with doubt.
All part of a cast, direct you like I did the last.
I see that you're furious, but you're hardly fast.
Now I'll produce the fear as the shoot draws near--
I've got the schedule set; we're not finished here!--
You're calling "cut," but I'm just cutting you more,
And then I'll edit you out on the cutting room floor.
I appreciate that you feel you've come so far,
But never forget this is MY movie, and I'm the STAR!
Just a lovely little piece using filmmaking jargen as a metaphor of putting the hurt on somebody (prior to becoming an author I was studying to be a scriptwriter & director ~ though recent events are steering me back into scriptwriting once again).
Content and details are purely fictional.