How do you get this type of blue sunlight cinematography?

[Brian Drysdale]

The policeman can have a quick chat over the phone with the prosecutor, if they're remote having anything more will slow things down. Having an in depth discussion will be going over old ground for the audience, unless there's some kind of argument/debate between them, will add little to whats going on.

There's no big deal in shooting the prosecutor watching the live feed, That can be done anytime.

The victim doesn't need to in attendance while they're talking.

Having anything else will just be bad daytime TV drama.

Is the police man going to drive round to the prosecutor's office to have this chat, while the rape victim is left waiting?

[Ryan Elder]

Oh okay. No he was not going to drive to the prosecutors office. The way I wrote it was that the main character has a female interviewer do the interview, based on what an LEO told me in my research, and then the main character was going to take that statement and make a phone call, and talk about it. He was then going to take the victim home. They are not going over old ground, just some new developments in the statement, as well as establishing the relationship.

Or at least that is how I wrote it so far, unless it should be different of course.

[Brian Drysdale]

You can do that, but it doesn't really sound like the best way to establish a relationship. As I said, it' sounds like poor daytime television..

[Ryan Elder]

Oh okay, why isn't it the best way, or what would be better?

[Brian Drysdale]

If this prosecutors is a key character, dramatically you need something that establishes their character and the current power relationship between them and the policeman. If the audience hasn't seen the prosecutor character before, they need something more than a phone call.to confirm than a statement from an interview is OK.

Watch LA Confidential to see how each character is introduced there.

[Ryan Elder]

Oh okay thanks. I have a copy of L.A. Confidential and like that one, but what am I looking for specifically? The fact that supporting characters are not introduced on phone calls?

[Brian Drysdale]

If you've got any talent as a writer you'll quickly spot how characters are introduced.

[Ryan Elder]

Are you referring to how the more major characters names are subtitled on the screen when they are introduced?

[Pete Cofrancesco]

Yes subtitle everything that will eliminate all confusion. ;-)

Speaking of subtitles. Did you ever finish the interview?

[Ryan Elder]

Yeah the interview is finished but I have to meet up with the guy for him go over some of what he said that I could not understand what he said in order to edit in the b roll properly.

Since I was talking about color in movie looks, I also came across this:

Why Great Movies use the Three Color Rule - YouTube

It talks about how some movies only use a 3 color rule. However, in a movie in the video like Drive for example, they talk about how drive has three colors, brown, blue and red. But they mostly show the scenes that take place in daylight. The night scenes have a lot of orange and green in them. So are they not counting those colors, or do those colors not count because the lights of night in LA. are orange and green, and that's just happenstance, and not the actual colors they picked intentionally, compared to happenstance atmosphere?

The project I was planning on for, for the colors, I can think of six colors I would use. Brown, blue, red, black, white and grey. But do shades out count as colors? But for mine there is a sequence set in the forest/woods area, and the trees are green of course. Does that mean green is a part of the color s I would be using then, or does it not count if it's just happenstance because that is what trees are?

And if I shoot the night scenes at night, there will be orange lights on the street. So would orange count as part of a color pallet I am using then, or no?

[Brian Drysdale]

How much do you learn about each character when they first appear in LA Confidential?

[Ryan Elder]

A good amount I would say. What are you saying :). Are you saying I should introduce the prosecutor another way?

[Brian Drysdale]

If they are an important character in your story, yes.

If this court hearing is just to get a search warrant and you don't hear about the prosecutor character again, the phone call is probably unnecessary, a line about getting a warrant will do the job.

That's unless there is some difficulty in getting a warrant. In which case, I would assume that this character will have more involvement later in the story than just getting the correct paper work.

[Ryan Elder]

Yes the character has more involvement in the story. There's more complications to go over them just a search warrant.

I don't have anything for the prosecutor to do plot wise, before this scene though, therefore shouldn't this be his first see if I don't have anything for him to do prior?

[Brian Drysdale]

That's why getting him into the police station would made sense. He could be there for other business, if this is in the US, he could be a DA up for reelection. You need to create a character otherwise he's just a cardboard cutout.