FIRST DRAFT - screenplay - BLUE NOTE























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Title Idea - BLUE NOTE

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  Title:  Blue Note The title  Blue Note  works on several levels - musical, emotional, and visual. Musically:  A  blue note  is a note that falls slightly off-pitch — not wrong, but intentionally imperfect. It’s what gives jazz its soul. That’s the tone of this film: controlled but human, elegant but unstable. The tension comes from what’s just beneath the surface, slightly out of tune. Emotionally:  The “blue” carries the film’s undercurrent of melancholy — the loneliness of suburbia, the quiet sadness that lingers even in violence. It’s not a loud story; it’s one that simmers, cool and precise. Visually:  The colour blue defines the film’s palette — night streets, the metallic gleam of knives and cars. It’s the visual language of calm before blood. It is also a call to the song used in the opening act, What I'd say Pt. 1 &2 by Ray Charles, a prominent example of the use of a blue note. In the end,  Blue Note  isn’t just about...
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THE ELLINGTON KID (2012)

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 THE ELLINGTON KID (2012) Dir.  Dan Sully ★★★★☆ MIS-EN-SCENE In  The Ellington Kid , the mise-en-scène subtly builds tension and foreshadows both violence and dark comedy through the repeated visual motif of knives. Set mainly in a kebab shop, the knives are prominently displayed on the walls and handled by staff in a forceful, almost aggressive manner — their sharp, sudden chopping sounds punctuate the otherwise routine environment, startling the viewer and adding a layer of auditory tension. While these objects seem like part of daily life, their constant presence suggests an underlying threat, especially as the narrator’s tale becomes increasingly intense. As the story unfolds, the knives gain symbolic significance — no longer just kitchen utensils, they come to represent hidden power and potential violence. This contrast between the familiar, everyday setting and the implied danger enhances the film’s darkly comic tone, challenging assumptions about vulnerability, str...
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Character Profile

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How the Three Things About Vincent Vega in  Pulp Fiction  Apply to my protagonist:  1. The car she would drive Vincent Vega drives a Chevy Malibu. The Woman, though younger, shares that taste for timeless things. She’d drive something that looks like it’s been pulled straight from a lost photograph - a lightly battered 1967 burgundy Ford Mustang. It’s nostalgic but not flashy; she doesn’t drive for show. Her car hums like part of the soundtrack - something that glides, not roars. 2. What she would order in a restaurant   Vega orders his steak “bloody as hell.” The Woman is far more deliberate - she performs normalcy like it’s part of a script. She’d sit alone in a roadside diner, a cigarette burning low, and order black coffee and slice of blueberry pie. It’s simple, unfussy, American. The kind of order that doesn’t draw attention, but when she says it, the room seems to listen. Her food is less about indulgence, more about control - a moment to pause, to recali...
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