#7

This film, a work of narrative fiction, may be constructed based on this very simple formula.

FIRST

Two strangers, kept absolutely separate until the start of filming, will be seated at opposite ends of a long rectangular table. This room will be painted in a vibrant shade of blue, and thus will be referred to from here on as "the blue room." The actors seated in this room will be referred to as "W" and "X."

SECOND

In a second area, separated from the first by thick, sound proof walls, having been painted a vibrant shade of red (therefore referred to from here on as "the red room"), will be seated two additional actors. These we will call "Y" and "Z."

THIRD

X and W will be given ear pieces, wired to receive sound recorded through mouth pieces given to Y and Z. The only directions given to W and X are that they must act out, to the letter, the actions described by Y and Z (Y's mouth piece is hooked up to W's earpiece; Z is hooked up to X). These interactions, directed by the words spiken in the other room, will be recorded by cameras.

FOURTH

Y and Z, in the red room, are only allowed to communicate to each other based on "commands" written on small notepads. The messages written by Y, slid across the table and read by Z, will be spoken and heard by X, who will act them out; in the same way, messages drafted by Z, passed on to Y, will be read aloud into the ears of. All interactions taking place in this room will also be recorded.

FIFTH

The actions in both rooms will be acted out at the same time, recorded simultaneously by 6 different cameras, three in each room. One camera exclusively recording each actor, and one additional camera in each room, focused on the room so that we see the full length of the tables, and each actor in profile.

SIXTH

All actions recorded will be placed on-screen in a split-screen format. These will unfold in "real-time;" the editors will be allowed to make cuts at their discretion, although each cut must be accompanied by an immediately visible disruption, signaling to the audience that a cut has been made.

SEVENTH

The most discretion will be given to the cutting of the soundtrack; the sound mixer will be allowed to isolate and balance the different sound elements as she sees fit.

EIGTH

Music may be added, at the discretion of the film makers. We suggest the music be recorded simultaneously with the recording of the performers.