Before we screen Ron Howard’s film, we will work to adapt the literary source material into filmic form. You may work alone or with a partner to choose a scene from the excerpt packet with a defined beginning, middle and end to adapt into screenplay or storyboard form (your choice). For either selection, you will integrate filmic technique choices and analyses, so when you are making adaptation decisions, be sure you have meaningful reasons for them.

SCRIPT PAGE FROM VERTIGO – NOTICE THE FORMAT, CHARACTER NAMES, DIALOGUE, BEHAVIOR DESCRIPTIONS Vertigo Script

SCRIPT PAGE FROM THE BIRDS – NOTICE THE USE OF TECHNIQUES AND DESCRIPTIONS

SCRIPT PAGE FROM A STUDENT ADAPTATION OF THE BIRDS – NOTICE THE INCLUSION OF TECHNIQUES WITHIN THE SCRIPT AND ANALYTICAL ANNOTATIONS (AT THE BOTTOM)

SCRIPT PAGE FROM A STUDENT ADAPTATION OF THE BIRDS – NOTICE THE INCLUSION OF TECHNIQUES (BOLDED) WITHIN THE SCRIPT AND ANALYTICAL ANNOTATIONS (AT THE BOTTOM)

STORYBOARD FROM VERTIGO (AND THEN WHAT IT ACTUALLY LOOKS LIKE IN THE FILM) From Vertigo opening sequence

STORYBOARD FROM VERTIGO (AND THEN WHAT IT ACTUALLY LOOKS LIKE IN THE FILM) From Vertigo opening sequence

STORYBOARD FROM THE BIRDS (AND THEN WHAT IT ACTUALLY LOOKS LIKE IN THE FILM)

STORYBOARD FROM THE BIRDS (AND THEN WHAT IT ACTUALLY LOOKS LIKE IN THE FILM)

STORYBOARD AND ANALYSIS FROM A STUDENT ADAPTATION OF THE BIRDS – NOTICE THE INCLUSION OF TECHNIQUES AND ANALYTICAL ANNOTATIONS (ON THE SIDE) Long Shot is used here in order to establish the setting of the scene when Nat goes down to the Trigg’s farm. It provides a scenic landscape wherein one can see the beauty of the land – in great contrast to the carnage that is to come. Also, this shot establishes looming senses of isolation and vulnerability through the use of High Angle, a technique that lends well to the dire immediacy and solidarity of Nat’s situation.