Re: How do you get this type of blue sunlight cinematography?
 

Not to complicate things by defending Ryan’s dubious choices, but really, is his idea any more boring/tedious than an episode of any police/law procedural (e.g. law & order, Bosch, etc)? I mean, those shows are mired in tiny details and seems to have worked out well enough for them.

Re: How do you get this type of blue sunlight cinematography?
 

You do get this sort of stuff in TV police cop shows, however, he seems to trying to make a thriller, which is a different animal.

Re: How do you get this type of blue sunlight cinematography?
 

Again, not to defend, but "forgettable crime thriller" is definitely a genre. Shelves were filled with them at Blockbuster back in ye olden tymes

Re: How do you get this type of blue sunlight cinematography?
 

Oh absolutely, every genre is full of the instantly forgettable.

Re: How do you get this type of blue sunlight cinematography?
 

It occurred to me too what he was describing reminded me of the flood of those awful procedurals. What's funny the two things Ryan isn't good at, he's drawn to: writing dialog and finding good actors to read it naturally. Yeah it also reminds of those complex thrillers of the 90s with a those ridiculous plot twists. Speaking of those memorable interrogations Basic Instinct. Without Sharon Stone and the leg scene no one would remember that movie.

Re: How do you get this type of blue sunlight cinematography?
 

whoa bro. Dont be baggin on SVU and Bosch.

Re: How do you get this type of blue sunlight cinematography?
 

You can relax I don't watch either I'm more of a CSI Miami kind of guy. Sorry to put the kiBosh on your shows. Yeaaahhhhhhwooo!

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay, but I just don't see how a police procedural can be boring, because there are ones that do concentrate a lot on dialogue, that are well recieved as well.

Re: How do you get this type of blue sunlight cinematography?
 

Poor David Caruso. I hear he sees everything at a 30 degree angle these days 'cause his head is now permanently cocked to the right.

Re: How do you get this type of blue sunlight cinematography?
 

Well in order to combine scenes and make them more convenient, what if I just wrote it so that while the witness is giving the interview on camera, the camera has a live feed that runs to the prosecutor's office and he's watching it on his monitor, live.

Would this help make things more convenient? Or is that stretching technology too much as to what they have?

Re: How do you get this type of blue sunlight cinematography?
 

In order to have the sharp police procedurals you need to have sharp, well written dialogue, which, currently, you are weak at.

The live TV feed is basically the same as the two way mirror, which has been used in a number of police films.

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay, I just wasn't sure if they would realistically send a live signal from the interview room to the prosecutor's office through cyberspace in case anyone tried to intercept the signal, to see what the witness had to say.

I will work on the dialogue and perhaps someone else can help polish it.

Re: How do you get this type of blue sunlight cinematography?
 

You mean how courts have been doing it for years? As it’s a movie though, even if you can’t do something technically, you can in the movies. Like my own pet hate, magic radios that one moment have the goodies and baddies using them separately and privately, yet the next minute they all hear each other. Think Die Hard.

Re: How do you get this type of blue sunlight cinematography?
 

When do courts do them, or why? Do they want people possibly listening in, who are not suppose to be? Plus I wasn't necessarily thinking of having the villains tap the signal, if I write it that way, but I could have them do it.. I just doubted it would be realistic that they wound send a police interview through cyberspace that could be intercepted.

Re: How do you get this type of blue sunlight cinematography?
 

UK courts have had the option of the defendant not being physically present for years, they have a live feed from the prison. The layout in their courts is different to US courts, they don't sit beside the attorney, they are in a dock when in a criminal case.It's commonly used for remand hearings.

Courts cases are open for anyone to attend, The press are also there. I would assume that Canada has basically similar rules, unless the case is "in camera". https://www.cps.gov.uk/legal-guidanc...private-camera

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay, but this is a interview with a witness in a police station, so it's not public of course. So would they be okay with sending out an interview to the prosecutor's office for him to view, if the interview is being sent to the prosecutor's office, and not a courtroom?

Re: How do you get this type of blue sunlight cinematography?
 

You would need to set it up that the villains have had access to this on an ongoing basis.

How easy it would be to hack would depend on the system they've got, if it internet or intranet etc. If you tell the story probably no one is going to care about the possibility of hacking. It only become of interest if it's part of the villain's MO.

Or, you could just use a two way mirror on the interview room, it's dramatically more interesting.

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay. And originally I was going to have the villains find out what she said another way, but I can use this way too, if it makes the scene more convenient.

The thing about the two way mirror, is I thought about that before and I saw 4 possible cons to it, but maybe I'm wrong:

1. It will be more expensive to find a location that has a mirror built into the wall, and should just shoot it in a room with a camera, cause it's easier and cheaper to shoot?

2. The mirror is outdated nowadays, since they just use a camera nowadays in real police stations.

3. Would the prosecutor bother to come all the way down to the police station for this? I mean prosecutors normally look at statements after they are taken, I am guessing, and I thought the prosecutor watching it on his office computer, was pushing it. So he would he come all the way down to see it it live, when he can just watch the statement on tape a littler later, even if it's just a few minutes later?

4. The witness they are interviewing is actually the victim of the crime. They interviewed her before, but this is some follow up questions after a new development. So would they interview her in a room that is a mirror room? I asked a police officer this in my research and he says they have a different room for some victims, to make them feel more comfortable. So would a victim feel comfortable in a room with a mirror, therefore?

But maybe I am wrong and the mirror room would stil work, and the prosecutor would bother to come down in person, rather than just watch a video of the statement after, from his office?

Re: How do you get this type of blue sunlight cinematography?
 

You should explain the scenario when asking questions, other users aren't mind readers.

All that's probably needed is an audio feed, so that the prosecutor can listen in.

Re: How do you get this type of blue sunlight cinematography?
 

Oh sorry, I guess will try to exlain more next time. But isn't audio more risky to send over the cyberspace than video, since the audio is the more important part in a statement?

Re: How do you get this type of blue sunlight cinematography?
 

Look, since part of this scene is about the relationship of the cop with the prosecutor, get him to go to the police station if everything is that urgent.

In real life Queen Elizabeth I never meet Mary Queen of Scots, but they meet in quite a few films because it helps the drama and the story if they met. It works because the audience believes they meet as they're watching the film, even if a few know they didn't actually meet..

You're wildly over thinking this.

Re: How do you get this type of blue sunlight cinematography?
 

Ryan - encryption has been around for years. In the UK, the Police constantly talk about case details to the Criminal Prosecution Service and my son books offenders into a centralised custody suite in Norfolk, when he arrests them in Suffolk, and can view everything remotely. The only thing NOT done is the conversations between the acused and their legal representation because the people who COULD listen in, are the people who shouldn't! (but of course could).

It's now common for people to give evidence from their prison and not have to go to court, and in child or sexual abuse cases, distance evidence is less stressful - but private.

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay, thanks. But you said before that the audience wouldn't believe if they kept a witness waiting for about 30 minutes, if they wanted to call the prosecutor and go over things with him. So how is it that the audience won't believe asking a witness to wait, yet they will believe the prosecutor coming down in person?

Isn't it just substituting one character being inconvienced for another? What makes one more believable than the other to the audience, just so I know?

Re: How do you get this type of blue sunlight cinematography?
 

It appears not to be a mere witness, but the rape victim, which is entirely different. However, I suspect such a person wouldn't be left on their totally own for long periods. If you do that the audience will possibly lose sympathy with your policeman.

Can't you plot anything? The prosecutor could already be there, since.I assume that this is a planned interview if it's going over stuff for the court hearing the next day. Alternately, he could be in the police statioon for other business (they do work on more than one case) and gets informed about the victim possibly changing her statement.

Since this also about a relationship, the two men being in the same location, kills two birds with one stone and the response to her statement can be very quick

You want to keep things moving in a thriller.

Re: How do you get this type of blue sunlight cinematography?
 

Well the way I wrote it was, is that she is trying to avoid getting involved in the case, so the main character cop found her, since she was dodging his efforts, and talked her into coming in. But since he didn't know when he was going to find her, and didn't know he could talk her into it, the interview is an unexpected interview, so the prosecutor would have to drop everything, spur the moment, just to go there, if that's believable.

Another thing is, is that after she reveals some new information in her statement, the main character and the prosecutor have to leave the room to talk about it, because they want to go over some things without her hearing about it.

I wanted the main character to leave the room and call the prosecutor, because then the prosecutor can just talk over the phone with his voice, and the actor does not have to be in two scenes. But if he is there during the interview, that is two scenes he has to be in then.

But also, would he drop everything and come over, if the interview was unexpected? Plus even though it's not polite to make her wait, I still need the main character and prosecutor to leave the room so they can talk about the new development without her wanting to hear about it. So wouldn't they have to keep her waiting anyway, therefore?

Re: How do you get this type of blue sunlight cinematography?
 

Would there be a court hearing the next day if she hasn't wanted to proceed with her allegations of rape until this point?

Re: How do you get this type of blue sunlight cinematography?
 

Yes they were still going to go ahead without her but the police wanted to find her before the hearing and get her to do an additional statement and try to persuade her into getting more involved if they could. At least that is how I wrote it so far. If it comes off as too heartless for the main character to keep her waiting while they talk, I could have him just say to the prosecutor "We shouldn't keep her waiting, what would you like to do"? If something like that would help?

Re: How do you get this type of blue sunlight cinematography?
 

It sounds like it needs more work on your part..

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay thanks. Is there anything you were thinking of specifically, besides the dialogue?

Re: How do you get this type of blue sunlight cinematography?
 

I would do some research on how rape cases are handled.

Re: How do you get this type of blue sunlight cinematography?
 

Oh well in my research, normally in those kinds of interview with a female victim, they want a female interviewer and since the prosecutor and the main character are both male, so far I wrote it so that they sit outside and wait for a female interviewer to be done, and then go over the new developments in the interview after. If that is a good way to write, according to the research.

Or I could go by the Kubrick notion, that it may be realistic but is it interesting, and just have the main character and prosecutor in their as well.

Re: How do you get this type of blue sunlight cinematography?
 

Are you trying to follow investigative practice or wrote a movie script? You don't seem to understand very much about the way rape is dealt with, and being such a personal subject, not being female makes writing this something that is probably just not going to work. Rape counselling and criminal investigation of rape is a very sensitive and quite controlled process. It's common for them to use special suites in the building with softer lighting, comfy chairs and trained female (or even male personnel in certain cases) to do the talking. Other officers may or may not view the interviews live via cameras, and probably they will be recorded. Your story doesn't seem to follow procedure, and these kinds of errors will really annoy people if you get it wrong in process, or in attitude. I think we told you before this part of your script is very, very difficult to manage. Get it wrong and you will offend, trivialise, compartmentalise, judge and divide your audience without VERY great care. I don't think I could write a scene like this without a huge amount of help from specialists.

Your script is going back to where we were last year isn't it? We tried to talk you around then, and we've just closed the circle and started again.

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay, but I wrote the scene so that it takes place in such a room. I already wrote it the way you described, which is one of the reasons I wrote it so that the prosecutor was not in the room. Did I not write it that way, or did I do something different? I already wrote it so a femaly interviewer does the talking, but it was suggested to me before to bring in the prosecutor to make the scene more convenient, if I should? Plus I took the advice given before about the script and made changes and improvements that were recommended to me before.

Re: How do you get this type of blue sunlight cinematography?
 

I’m not sure if we have an equivalent in our system? I’m lost. Who in your system is the prosecutor. A lawyer? In our system the police prosecute, linked to our CPS system, but the legal people for prosecution and defence only get a voice in court, they don’t join in work to investigate or interrogate.

Re: How do you get this type of blue sunlight cinematography?
 

Being in the building watching a video feed, isn't the same as the prosecutor being in the room. I assume the policeman also isn't in the interview room, if that's the case they could be sitting together discussing the interview as they view the live video feed in the police station. This would also allow them working together to be established. .

Or, the prosecutor could be in their office talking to the policeman in the police station, as they both view a live video feed interview. As Paul mentioned, they could be using an encrypted feed, so we don't need to go around in circles about that. They could talk over the phone as they watch.

You didn't provide the full picture earlier, you called the person a witness, instead they are the rape victim. Providing incomplete information means that you can easily get conflicting or wrong information back.

Ryan's arrangement sounds like the French one or an assistant district attorney in the USA.

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay thanks. Sorry for not getting more into it. I didn't think the prosecutor could watch it live, but I can write it that way, if they can. One movie where the prosecutor watches the recording after, the fact was Wild Things (1998), but perhaps that's because it's in the 90s, compared to now?

Also, what do you mean when you say 'the French one'? That French TV show, recommended before? They would have to wait till the video is over before discussing the bulk of it though, which means they would still have to keep her waiting though, but if I write that the main character does not want to keep her waiting, is that better?

Re: How do you get this type of blue sunlight cinematography?
 

It's the French legal system. There;a a link above that explains the role of an investigating magistrate.

Watching a live feed is the easy way out.

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay, and by easy way out, you mean lazy way out, writing wise?

Re: How do you get this type of blue sunlight cinematography?
 

No, given what you want to achieve it's the easiest way of doing this.

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay. I just that the live feed would be more work in the sense that I need to shoot the prosecutor watching with at least a voice over effect of the dialogue. Where as it's less work, to just show the interview room scene only, then cut to the next scene in the office, discussing it with the prosecutor, which I thought would be less footage and less audio, since I do not have to show the prosecutor watching therefore. Unless I am wrong?

I could write so that the prosecutor is viewing it remotely. However, I still want him and the main character to have a discussion about her statement without her hearing about it. That means he will have to leave the room while she waits, and that was the issue before, it was said as to being clunky. So is it possible for a detective and a prosecutor to talk about the case, without the victim of the crime hearing about it, without it being clunky?