aput your character up a tree
throw rocks at it
get it back down
explain, don't jump cut, make transition, transition is primary
backstory of characters, some normal - an intentional normalcy, some connected in weird ways
what are the characters doing for each scene? How does each scene interact with the next?
*character: Leonard sees no security in anything other than what he knows, so, in his break down, he sees what he must stop doing but not what to do instead.
*the woman does the voice over of her thoughts, which are brilliant and beautiful, and are expressed, in the film, while she is working, or sitting alone and reading, Solzhen if he has any voice over, will be when he is alone in his apt. or sitting alone at the cafe, or walking, or as a seemingly separate voice over while he is riding to do a job, that would be good.
*who is the woman? what kind of person is she?
*how do characters meet? at night, a woman works at cafe, voiceover of her ideas: looking into eyes to see what kind of person they are. Solzhen goes to cafe to meet contact to pick up info - by subtle, secret methods - him and contact don't officially talk, but a package is placed somewhere and Solzhen picks it up, but Solzhen must wait at the cafe for the contact. Woman looks at Solzhen, she sees into him, and that is the beginning. She says something profound and inviting. He feigns interest, but not entirely.
*more story. After the first assassination we see in the syuzhet, he returns to the cafe on his own, she is not working, we then see Leonard's personal life, his home, his normal activities, what sets him apart from normal people, lots of darkness. everything is at night.
he then returns to the cafe in the morning, looks, but she is not there, he returns to his condo, curtains drawn, venetian? or gauzy impressionist shades cover windows? anyhow, fuzzy light diffuses the daytime, Leonard smokes, sits alone, like Cpt. Willard in Apoc Now, except no mental break down, though this should happen in a more meek manner mid point or so in the film/book.
(I) Bicycle Assassin, Leonard A. Solzhen meets a woman, she shows him love, (I a) he begins to soften and (I b) becomes torn through a newborn conscience, influenced by love of the woman, and ceases communication with contact.
(II) contact begins to look for him, has other bad people look for him, while Leonard gets closer to woman, and she gets closer to him, and as she learns who he is, she is scared, indeed damn frightened, but through her fear, she sees him changing, through her risk, she seeks a the love that is hidden in Leonard (she shakes or shivers when she discovers his weapons, and such material in his condo, but it is subtle and whispered, her words, the lighting, her mood).
*use intercutting for the "contact" searching for and organizing others to go after Leonard, with Leonard meeting and going out with the woman.
*at what point does the woman, she must get a name soon, this is driving me crazy, finds the true darkness that is the life of Leonard, which is a very important part of the film/book, and which must coincide with the increasing tension of the forces that are about to attack Leonard, and Leonard's break down, his breaking out of the hardness that is in his soul, and his life and work? Leonard must have other qualities that we learn about, along with the woman, who draws it out of him, other capacities that he can use for a better life.
Bicycle assassin NOTES
Film specific spots for architectural aesthetic. A specific building pan down to street level, only having the given building in shot.
“the death salesman and the bicycle assassin”
the death salesman, when visualized, is an illusion. It is a presence in the brain via nanomachines, the nanomachines contain a certain neural program.
A death salesman ‘virus’ influences the victim on all the ‘reasons’ he/she should die. Atomizing, creating insignificance, making existence useless; all in the victim’s mind. In the expression and behavior of the person the psychic battle against the death salesman – to tell him to go fuck himself.
Eventually the death salesman loses his job and is at first disappointed to have to get a real job.
* * *
Story told from future narrative, as in reflection.
The bicycle assassin works for the death salesman.
The death salesman is not material reality, it is a neural program, a marketer of death, using a psycho-neural marketing method.
How do people come across the death salesman?
*legal forms for death salesman, but the assassination of the bike assassin is illegal (why not have auto-suicide program?)
*prerequisite: actually being interested in death; as in computer programs that ‘know what you want.’
*activism against death marketing by guerilla groups
*bike assassin is infected by a death salesman neural virus?
-just another job, a ‘profession.’
*what is material basis and profit of the death salesman, not PURE TECH, not a totally a computer program.
-who pays the bike assassin?
*bike assassin is captured in a setup by activists; mind hacked and/or internal conflict b/c of love and/or intervention by target or activist.
*society allows the brain to be a market place, the ‘online mind.’
begin in darkness
feet hit the ground, a slight 'ugh' is said with the feet hitting the ground
a moment of silence, then breathing, not heavy, but audible
a few moments later, a few foot steps
-the foot step sound throughout the scene sounds like it's in a cave or tunnel, an echo, the sound of steps on cobble stone or brick, specifically the sound of boots on brick or cobble stone, or even cement, but the ground is not seen in the tunnel at all, so that doesn't matter anyway.
a little white dot pans into frame from the left, pans to 3/4 of right side of frame and returns to center frame
sound: foot steps turn into the sound of running
v/s: the white dot slowly increases in size as running sound is heard
Causes Jonathan Winters Supports
Environmental and social justice causes. Educational causes through interpersonal relationships