seventhirteen-us

[seventhirteen-us]

Is space the problem or the solution

[seventhirteen-us]

Yallniggashiringatdawafflehouse?

[seventhirteen-us]

[seventhirteen-us]

[seventhirteen-us]

[seventhirteen-us]

Title: "EMPTY"

Written by: SA!NT MARTIN

Date: [06/10/24]

V1

### Scene 1: Outside the Convenience Store

**Wide-angle low shot (16mm) in front of him as he walks**

*The camera captures the protagonist's determined stride from a low angle, emphasizing the vastness of his surroundings and his solitary figure.*

### Scene 2: Entering the Store

**Cuts to show his bottom half approaching the convenience store and walking in**

*The shot transitions to his lower half, focusing on his feet as they step purposefully towards and into the store.*

### Scene 3: Inside the Store

**Tracking shot through the store**

*The camera continues to track him through the store. A woman brushes by him, sliding a note into his hand discreetly.*

**Protagonist's reaction**

*He looks back, the camera panning around his head until it ends facing the door, with the woman leaving out of focus.*

### Scene 4: Outside the Store

**Still shot of the store**

*The camera holds a still frame of the store exterior as he exits, transitioning to him leaning against the wall.*

**Lighting a cigarette**

*Cuts to a close-up of him lighting a cigarette, emphasizing the flame and his focused expression.*

### Scene 5: The Note

**Overhead close shot**

*An overhead close-up captures him taking the note out of his pocket and unfolding it. The note reads either a profound quote or "seventhirteen.us".*

**Folding the note**

*He folds the note back up and puts it in his pocket, the camera maintaining a still shot in front of the store.*

### Scene 6: In the Car

**Passenger in a car (cab)**

*Cuts to him as a passenger in the back seat of a car, looking out the window. The scene briefly shows him making waves out the window.*

**Looking at a picture**

*He gazes at a picture he holds while resting his head on the frame of the car door.*

### Scene 7: The Empty Room

**In an empty room**

*Cuts to him in an empty room with only a mirror and a chair. He walks around, dragging his hands across the wall,smoking and drinking. A projector plays low-lit images on the wall.*

**Different positions and the mirror**

*The camera captures various cuts of him in different positions, finally standing in front of the mirror.*

### Scene 8: The Girl

**Girl standing behind him**

*Cuts to a girl standing behind him while he sits in the chair, head down. She touches him gently, providing a stark contrast to his solitude.*

**Gone**

*Cuts to the same position but with the girl gone. His loneliness is palpable.*

### Scene 9: In the Bathroom

**Over the sink**

*Show him in the bathroom, over the sink, crying and staring at himself in the mirror.*

**Lighting a cigarette**

*Cuts to him lighting a cigarette in the bathroom, looking at the photo while sitting on the toilet.*

### Scene 10: Snorricam Sequence

**Snorricam facing him**

*A snorricam captures his face as he sweats profusely and looks disoriented. Cuts show (10-16mm low pan) him walking in various places, emphasizing his inner turmoil and restless state.*

---

[seventhirteen-us]

WATCHED MOIVE LIST

Maestro (2023)

Poor things (2023)

Oppenheimer (2023)

the burial (2023)

Jarhead (2005)

Knight of cups (2015)

Django unchained (2012)

Interstellar (2014)

Inception (2010)

Goodfellas (1990)

Casino (1995)

The hateful eight (2015)

Pulp fiction (1994)

Kill bill Vol 1&2 (2003) (2004)

Once upon a time in Hollywood (2019)

Saltburn (2023)

Crazy stupid love (2011)

Moonlight (2016)

Killers of the flower moon (2024)

The place beyond the pines (2012)

Whiplash (2014)

Fantastic Mr. Fox (2014)

Fight club (1999)

[seventhirteen-us]

I simply want to find a way to execute things according to my vision and present them on a platform (Young Thug voice) for everyone to see. The concept is quite straightforward really. It's about capturing ideas and maintaining a cohesive aesthetic to keep it all together. I resonate with the idea of embracing the unknown, making it feel familiar yet intriguing. Its a theme I want my brand to embody.

I aspire to create cool experiences without the need for constant novelty or exoticism. Normal activities and concepts can be fascinating when viewed from a fresh perspective. It's about finding beauty in simplicity and doing things that may seem straightforward but are undeniably captivating, which is what I think the most iconic brands over time do best.

My goal is for everything to have its unique flair while still feeling connected, striking that delicate balance between diversity and unity.

[seventhirteen-us]

[seventhirteen-us]

[seventhirteen-us]

Above all, don’t lie to yourself.

[seventhirteen-us]

Taxi Driver (1976, Martin Scorsese)

28/01/2024

Taxi Driver is a 1976 film directed by Martin Scorsese, written by Paul Schrader and starring Robert De Niro. Set after the Vietnam War in New York, it is about a vigilante with neo-noir and psychological detective elements.

The screenwriter Paul Schrader stated that he was inspired for the film's themes by European existentialism and in particular by Jean-Paul Sartre's Nausea and Albert Camus' The Stranger, as well as by the story of Arthur Bremer, who attempted in 1972 to assassinate Democratic US presidential candidate George Wallace. Particularly notable is the performance of Robert De Niro, defined by the American journalist Robert Kolker as "the last of the noir heroes in the noisiest world imaginable". The very young Jodie Foster won two BAFTAs in 1977 as Best New Actress and Best Supporting Actress (also for Bugsy Malone).

The film won the Palme d'Or at the 29th Cannes Film Festival in 1976 and was nominated for four Academy Awards, including the Best Film category in 1977. The American Film Institute placed it 52nd among the 100 best films of all time, while it ranked 17th on the list of the 500 best films in history according to the British magazine Empire. In 2012 it was placed in 31st place, ex aequo with The Godfather - Part II, in the ranking of the best films of all time drawn up by critics and published by the English magazine Sight and Sound, while in that drawn up by directors it found itself in fifth place. In 1994 it was chosen for preservation in the National Film Registry of the United States Library of Congress.

[seventhirteen-us]

highborn, exalted, sublime

[seventhirteen-us]

The moral of Orpheus and Eurydice is to be patient and keep one's faith. When Orpheus travels to the underworld, he convinces Hades using music to let him take Eurydice back to the world of the living.

[seventhirteen-us]

- FIRST SHOT - The camera starts panning in the studio space, with a close up shot of a stool/chair (nobody sitting in it). In the background, there is noise coming from the studio space.

- SECOND SHOT - (P1) is on the phone and driving to a studio space. The camera is beside him, facing the window, and then follows him as he gets out of the car and enters the studio.

- THIRD SHOT - (P1) is sitting on the stool (Base) and the interviewer off-screen asks him to introduce himself. (P1) replies, “My name is (P1) and I am a cinematographer. I have been interested in the art of cinematography since I was a kid, and I have never really looked back since then.” The camera then shows the whole set and its surroundings before the title intro appears across the screen.

- FOURTH SHOT - (Back at base) The interviewer asks (P1), “What does cinematography mean to you?” (P1) responds, “Cinematography is not just a job or a hobby for me. It is a passion, a way of life. It is the art of capturing moments, emotions, and stories, and translating them into visual language. It is the art of painting with light and shadows, and creating a visual poetry that moves people.”

- FIFTH SHOT - (Base 2) The interviewer asks (P1), “What do you think is the most important aspect of cinematography?” (P1) responds, “I believe that the most important aspect of cinematography is storytelling. The camera is not just a tool for capturing images; it is a tool for telling stories. Every shot, every angle, every movement, every color, every light, every shadow, every sound, every silence, every edit, every transition, every frame, every second is a part of the story. And the job of the cinematographer is to make sure that every element is in harmony and enhances the story.”

- SIXTH SHOT - (P1) is shown working on a film set, setting up lights, adjusting angles, and directing actors. The interviewer asks (P1), “What is your creative process like?” (P1) responds, “My creative process is a mix of intuition, research, collaboration, and experimentation. I start by reading the script and getting a feel for the story, the characters, and the mood. Then, I do research on the period, the location, the style, and the genre. I collaborate with the director, the production designer, the costume designer, and the sound designer to create a cohesive vision for the film. And then, I experiment with different shots, angles, and lighting techniques to bring that vision to life. It is a constantly evolving process, and it requires a lot of hard work, dedication, and passion.”

- SHOT SEVEN - (P1) is shown driving through downtown Detroit and doing a shoot. The camera follows him as he walks into a restaurant, and “DETROIT MICHIGAN” appears across the screen. In the background, there is noise and John is ordering food as he walks into the restaurant. John explains, “I’ve lived in Canada most of my life, so I didn’t realize until I got older how much of an influence this place really had on me. Detroit is a part of me, I was born here. There’s so much history and so many memories here from when I was a kid. This is where my dad grew up.”

“I came up with the name SEVENTHIRTEEN because it’s actually my dad’s birthday and my birth weight ironically, and I wanted my brand name to have a personal meaning to me.”

“My parents were really the first spark that introduced me to photography and made me obsessed with capturing memories. Everywhere we went, they took disposable cameras of literally everything, and they traveled a lot. I mean, shoeboxes full of pictures.”

- SHOT EIGHT - (P1) is standing by the curtains by the window.

# The Art of Cinematography 2/2

FIRST SHOT - The camera starts panning in the studio space, with a close up shot of a stool/chair (nobody sitting in it). In the background, there is noise coming from the studio space.

SECOND SHOT - A young man, named (P1), is on the phone and driving to a studio space in a car. The camera is beside him, facing the window, and then follows him as he gets out of the car and enters the studio.

THIRD SHOT - (P1) is sitting on the stool, and the interviewer off-screen asks him to introduce himself. John replies, “My name is John, and I am a cinematographer. I have been interested in the art of cinematography since I was a child, and I have never looked back since then.” The camera then shows the whole set and its surroundings before the title intro appears across the screen.

FOURTH SHOT - (Back at base) The interviewer asks John, “What does cinematography mean to you?” John responds, “Cinematography is not just a job or a hobby for me. It is a passion, a way of life. It is the art of capturing moments, emotions, and stories, and translating them into visual language. It is the art of painting with light and shadows, and creating a visual poetry that moves people.”

FIFTH SHOT - (Base 2) The interviewer asks John, “What do you think is the most important aspect of cinematography?” John responds, “I believe that the most important aspect of cinematography is storytelling. The camera is not just a tool for capturing images; it is a tool for telling stories. Every shot, every angle, every movement, every color, every light, every shadow, every sound, every silence, every edit, every transition, every frame, every second is a part of the story. And the job of the cinematographer is to make sure that every element is in harmony and enhances the story.”

SIXTH SHOT - The camera shows John working on a film set, setting up lights, adjusting angles, and directing actors. The interviewer asks John, “What is your creative process like?” John responds, “My creative process is a mix of intuition, research, collaboration, and experimentation. I start by reading the script and getting a feel for the story, the characters, and the mood. Then, I do research on the period, the location, the style, and the genre. I collaborate with the director, the production designer, the costume designer, and the sound designer to create a cohesive vision for the film. And then, I experiment with different shots, angles, and lighting techniques to bring that vision to life. It is a constantly evolving process, and it requires a lot of hard work, dedication, and passion.”

SEVENTH SHOT - The camera follows John as he drives through downtown Detroit and does a shoot. He then walks into a restaurant, and “DETROIT MICHIGAN” appears across the screen. In the background, there is noise and John is ordering food as he walks into the restaurant. John explains, “I’ve lived in Canada most of my life, so I didn’t realize until I got older how much of an influence this place really had on me. Detroit is a part of me, I was born here. There’s so much history and so many memories here from when I was a kid. This is where my dad grew up.”

“I came up with the name SEVENTHIRTEEN because it’s actually my dad’s birthday and my birth weight ironically, and I wanted my brand name to have a personal meaning to me.”

“My parents were really the first spark that introduced me to photography and made me obsessed with capturing memories. Everywhere we went, they took disposable cameras of literally everything, and they traveled a lot. I mean, shoeboxes full of pictures.”

EIGHTH SHOT - (P1) is standing by the curtains by the window, looking out. He reflects on the art of cinematography and its importance in telling stories.

[seventhirteen-us]

Translation of "en Dieu" in English. in God in Allah in the Lord.

The title "Seven Pounds" refers to the Shakespearean pound-of-flesh metaphor, meaning a figurative debt that needs to be paid back.

THIN/MODERN STARS 

Ti voglio bene

[seventhirteen-us]

Make this shit Myspace so I can put a theme song on my profile and sell T-shirts.