Five Senses — storyboard

WIDE SHOT with the camera across the room at standing height, looking slightly down. a calm tidy city apartment, restrained but clearly lived in: pale plaster walls, a warm wood floor with a soft muted rug, a low dark-wood Korean bandaji chest with pale brass fittings holding a celadon bowl, two small framed family photographs and reading glasses folded on a few books, a cardigan folded over the back of a second chair, a woven blanket on a low stool, a houseplant on the windowsill, a simple floor lamp, one small ink brush painting on the wall. A tall window looks directly across at the brick and stone facade of the building opposite. Soft afternoon daylight. No table. An older Korean woman with short soft grey hair in a charcoal grey linen top walks slowly into frame, draws the plain low-backed wooden chair a little away from the wall, and sits down on it, settling her weight. She is small in the frame and the whole spare room is visible around her. Camera completely static.

MEDIUM SHOT with the camera directly in front of her at seated eye level, about six feet away. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair. She leans forward very slightly and turns her head a little to bring her RIGHT ear forward, listening carefully to a voice. Her eyes stay lowered and soft — there is nobody in the room and nothing for her to look at. a calm tidy city apartment, restrained but clearly lived in: pale plaster walls, a warm wood floor with a soft muted rug, a low dark-wood Korean bandaji chest with pale brass fittings holding a celadon bowl, two small framed family photographs and reading glasses folded on a few books, a cardigan folded over the back of a second chair, a woven blanket on a low stool, a houseplant on the windowsill, a simple floor lamp, one small ink brush painting on the wall. A tall window looks directly across at the brick and stone facade of the building opposite. Soft afternoon daylight. No table. Camera completely static.

PROFILE SHOT with the camera to her RIGHT at seated shoulder height, the tall window bright behind her so she is rimmed with light. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair. She breathes out once through her nose and her shoulders drop and settle. a calm tidy city apartment, restrained but clearly lived in: pale plaster walls, a warm wood floor with a soft muted rug, a low dark-wood Korean bandaji chest with pale brass fittings holding a celadon bowl, two small framed family photographs and reading glasses folded on a few books, a cardigan folded over the back of a second chair, a woven blanket on a low stool, a houseplant on the windowsill, a simple floor lamp, one small ink brush painting on the wall. A tall window looks directly across at the brick and stone facade of the building opposite. Soft afternoon daylight. No table. Camera completely static.

OVER-THE-SHOULDER SHOT from behind her LEFT shoulder and slightly above, looking past her toward the tall window and the hanji screen, the city rooftops soft beyond. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair, seen from behind and to one side with the side of her face visible. She turns her head unhurriedly to look toward the window light. a calm tidy city apartment, restrained but clearly lived in: pale plaster walls, a warm wood floor with a soft muted rug, a low dark-wood Korean bandaji chest with pale brass fittings holding a celadon bowl, two small framed family photographs and reading glasses folded on a few books, a cardigan folded over the back of a second chair, a woven blanket on a low stool, a houseplant on the windowsill, a simple floor lamp, one small ink brush painting on the wall. A tall window looks directly across at the brick and stone facade of the building opposite. Soft afternoon daylight. No table. Camera completely static.

LOW SHOT with the camera below the level of her knee, looking up so that the chair legs, the pale wood floor and her whole seated figure are in frame together, her face clearly visible above. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair. She shifts once and settles both feet flat on the floor. a calm tidy city apartment, restrained but clearly lived in: pale plaster walls, a warm wood floor with a soft muted rug, a low dark-wood Korean bandaji chest with pale brass fittings holding a celadon bowl, two small framed family photographs and reading glasses folded on a few books, a cardigan folded over the back of a second chair, a woven blanket on a low stool, a houseplant on the windowsill, a simple floor lamp, one small ink brush painting on the wall. A tall window looks directly across at the brick and stone facade of the building opposite. Soft afternoon daylight. No table. Camera completely static.

WIDE SHOT taken from an interior doorway so that the edge of the door frame darkens the left of the picture and she is small and centred beyond it. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair. She squares herself in the chair and goes quiet. a calm tidy city apartment, restrained but clearly lived in: pale plaster walls, a warm wood floor with a soft muted rug, a low dark-wood Korean bandaji chest with pale brass fittings holding a celadon bowl, two small framed family photographs and reading glasses folded on a few books, a cardigan folded over the back of a second chair, a woven blanket on a low stool, a houseplant on the windowsill, a simple floor lamp, one small ink brush painting on the wall. A tall window looks directly across at the brick and stone facade of the building opposite. Soft afternoon daylight. No table. Camera completely static.

THREE-QUARTER SHOT with the camera in front of her and to her LEFT, slightly BELOW seated eye level so she reads a little taller in frame. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair. She rolls her shoulders back once and lengthens her spine, sitting up tall. a calm tidy city apartment, restrained but clearly lived in: pale plaster walls, a warm wood floor with a soft muted rug, a low dark-wood Korean bandaji chest with pale brass fittings holding a celadon bowl, two small framed family photographs and reading glasses folded on a few books, a cardigan folded over the back of a second chair, a woven blanket on a low stool, a houseplant on the windowsill, a simple floor lamp, one small ink brush painting on the wall. A tall window looks directly across at the brick and stone facade of the building opposite. Soft afternoon daylight. No table. Camera completely static.

HIGH SHOT with the camera above and just behind her RIGHT shoulder, angled down so that BOTH her face and both hands resting in her lap are clearly in frame together. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair. She turns both hands over so the palms face upward, and lets them settle. a calm tidy city apartment, restrained but clearly lived in: pale plaster walls, a warm wood floor with a soft muted rug, a low dark-wood Korean bandaji chest with pale brass fittings holding a celadon bowl, two small framed family photographs and reading glasses folded on a few books, a cardigan folded over the back of a second chair, a woven blanket on a low stool, a houseplant on the windowsill, a simple floor lamp, one small ink brush painting on the wall. A tall window looks directly across at the brick and stone facade of the building opposite. Soft afternoon daylight. No table. Camera completely static.

CLOSE SHOT with the camera straight in front of her at eye level, head and shoulders filling the frame. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair. She takes one slow visible breath in through her nose and lets it out through her mouth, her chest rising and falling once. Her eyes are open and lowered. Soft even daylight across her face. Camera completely static.

TIGHT PROFILE SHOT with the camera to her LEFT at eye level, warm light catching the edge of her face. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair. She turns her head a fraction to bring her RIGHT ear forward again as she listens, then breathes in slowly through her nose. Her eyes stay lowered. a calm tidy city apartment, restrained but clearly lived in: pale plaster walls, a warm wood floor with a soft muted rug, a low dark-wood Korean bandaji chest with pale brass fittings holding a celadon bowl, two small framed family photographs and reading glasses folded on a few books, a cardigan folded over the back of a second chair, a woven blanket on a low stool, a houseplant on the windowsill, a simple floor lamp, one small ink brush painting on the wall. A tall window looks directly across at the brick and stone facade of the building opposite. Soft afternoon daylight. No table. Camera completely static.

CLOSE SHOT with the camera in front of her and slightly to her RIGHT, a little above eye level, framing her face and shoulders. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair. Her eyes close gently and stay closed, and her face settles. Nothing else moves. Soft even daylight. Camera completely static.

Looking out through a tall apartment window from inside a quiet lived-in room, a houseplant on the sill in the corner of frame. Directly across the street, close and clearly visible and correctly exposed, is the brick and stone facade of the building opposite, its own windows and stone sills in soft afternoon light. A light curtain at the edge of the frame moves very slightly in the air. Balanced natural exposure, the view outside NOT blown out or white. Static camera, medium wide. No people, no text.

The brick and stone facade of the building directly opposite, seen from a window across the street: rows of ordinary windows, stone sills, a fire escape, a plain parapet against pale sky. Soft afternoon light. Everything still except a wire and a thin line of washing moving very slightly in the air. Static camera, wide. Ordinary American city masonry, not Mediterranean, no terracotta roof tiles. No people, no cars, no text.

Looking past the edge of the building opposite to the wider city beyond it — plain brick and stone rooftops, water towers and chimneys receding into soft afternoon haze, everything almost motionless, one faint drift of steam rising far away. Absolutely nothing else happens. Static camera, very wide. Ordinary American city, no water, no harbour, no distant skyline across a bay. No people, no cars, no text.

Extreme close on the smooth worn wood of a plain chair's low back and arm, the grain clearly visible, soft daylight lying across it and shifting very slowly. Shallow depth of field. Static camera. No people, no text.

Extreme close on the weave of soft charcoal grey linen cloth, the individual threads visible, gentle daylight raking across the surface. Very shallow depth of field. Static camera. No people, no faces, no hands, no text.

Close on a pale wood floor where a soft bar of daylight from a tall window lies across the boards, the edge of the light shifting a fraction. Clean, spare and quiet. Static camera. No people, no feet, no furniture, no text.

A hanji paper screen across a tall window, lit warmly from behind, drawing inward very slightly in the moving air and easing back, once, like a slow breath. Nothing else in frame. Static camera, medium. No people, no text.

Close on a pale celadon green ceramic cup of tea resting on the low dark-wood Korean bandaji chest beside a folded pair of reading glasses, framed family photographs soft behind. Only the faintest single thread of steam, barely visible, drifting once and fading — almost no steam at all. Soft afternoon daylight, the lived-in room out of focus behind. Static camera. NO TABLE in frame. No people, no hands, no text, no floating particles, no thick steam, no billowing vapour.

Extreme close on the still surface of pale tea inside a celadon cup, the light on it trembling very slightly and settling. Almost nothing moves. Static camera. No people, no hands, no reflections of a face, no text.

A quiet corner of the lived-in room: the low dark-wood Korean bandaji chest with its pale brass fittings, the celadon bowl, two small framed family photographs, reading glasses folded on a few books, and the small ink brush painting on the wall above. Soft afternoon daylight lies across it all and changes almost imperceptibly. Tidy and cared-for, nothing happening but the light. Static camera, medium. No people, no text, no floating particles.

The hanji paper screen at the window moving in and out in a slow regular rhythm, over and over, warm light behind it rising and falling a little each time. Static camera, medium close. No people, no text.

Close on a single small plant on a windowsill in a spare pale room, one leaf nodding slowly and regularly in the moving air, the same unhurried beat repeating. Soft daylight. Static camera. No people, no text, no insects.

A shallow celadon bowl of water resting on the low dark-wood Korean bandaji chest, the whole surface lifting and settling together in a slow regular rhythm, soft daylight moving across it. Static camera, close. NO TABLE. No concentric ripples spreading from a point, no drops falling, no splash. No people, no hands, no reflections of a face, no text.

The hanji screen at the tall window seen from further back than before, the spare pale room dim around it, the screen drawing in and easing out slowly and continuously. Static camera, wide. No people, no text.

Close on a pale plaster wall with one soft patch of warm afternoon light lying across it, the lower corner of a small ink brush painting just inside the frame and the top of a simple floor lamp below. The edge of the light eases very slowly across the wall. Quiet and simple. Static camera. No people, no shadows of people, no text.

A soft out-of-focus field of pale warm light with the faintest suggestion of a window edge, barely changing at all, the brightness shifting only very slightly. Almost nothing to look at. Static camera. No people, no shapes, no particles, no text.

Looking out through ONE large clean pane of an apartment window at the pale sky above the brick and stone building opposite, its parapet along the bottom of the frame. A single bird flies slowly across the open sky, clearly visible, from one side and out of the other, and is gone. Nothing else in shot. Static camera, wide. One single undivided pane of glass, no mullions, no window bars, no divided panes. No people, no flocks, no text.

The same view through the same single pane: the parapet of the building opposite along the bottom of the frame and open pale sky above it, now empty, one soft band of cloud drifting very slowly. Calm and open, correctly exposed and NOT blown out to white. Static camera, wide. No people, no birds, no mullions, no text.

Back inside the spare pale room, looking in from the window toward the quiet interior — bare wall, the low dark chest, soft daylight. The camera drifts very slowly FORWARD into the room. No people in frame, no text.

Close on the empty part of a plain low-backed wooden chair beside a tall window, soft daylight across the wood, the pale room quiet behind it. Static camera. No people, no text.

A wide quiet view of the whole spare pale apartment room in soft afternoon light — bare walls, pale wood floor, the tall window with its hanji screen, the low dark chest. Clean, restrained and completely still. Static camera. No people, no text.

CLOSE SHOT with the camera in front of her and slightly to her RIGHT, framing her face and shoulders. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair. Her eyes open gently and she looks down and slightly away, taking her time, then breathes out once. Soft even daylight. Camera completely static.

HIGH SHOT with the camera above and just behind her LEFT shoulder, angled down so BOTH her face and both hands in her lap are clearly in frame. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair. She spreads and flexes her fingers once, slowly, looking down at them, then lets them rest. a calm tidy city apartment, restrained but clearly lived in: pale plaster walls, a warm wood floor with a soft muted rug, a low dark-wood Korean bandaji chest with pale brass fittings holding a celadon bowl, two small framed family photographs and reading glasses folded on a few books, a cardigan folded over the back of a second chair, a woven blanket on a low stool, a houseplant on the windowsill, a simple floor lamp, one small ink brush painting on the wall. A tall window looks directly across at the brick and stone facade of the building opposite. Soft afternoon daylight. No table. Camera completely static.

MEDIUM SHOT with the camera directly in front of her at seated eye level. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair. She leans in very slightly and turns her head to bring her RIGHT ear forward, listening to the last of it, then takes one small breath. Her eyes are open and lowered. a calm tidy city apartment, restrained but clearly lived in: pale plaster walls, a warm wood floor with a soft muted rug, a low dark-wood Korean bandaji chest with pale brass fittings holding a celadon bowl, two small framed family photographs and reading glasses folded on a few books, a cardigan folded over the back of a second chair, a woven blanket on a low stool, a houseplant on the windowsill, a simple floor lamp, one small ink brush painting on the wall. A tall window looks directly across at the brick and stone facade of the building opposite. Soft afternoon daylight. No table. Camera completely static.

WIDE SHOT with the camera across the room at standing height. a calm tidy city apartment, restrained but clearly lived in: pale plaster walls, a warm wood floor with a soft muted rug, a low dark-wood Korean bandaji chest with pale brass fittings holding a celadon bowl, two small framed family photographs and reading glasses folded on a few books, a cardigan folded over the back of a second chair, a woven blanket on a low stool, a houseplant on the windowsill, a simple floor lamp, one small ink brush painting on the wall. A tall window looks directly across at the brick and stone facade of the building opposite. Soft afternoon daylight. No table. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair, small in the frame with the whole spare room around her. She turns unhurriedly to look toward the tall window and the afternoon light. Camera completely static.

CLOSE SHOT of the face of the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top, seated on a plain low-backed wooden chair, soft afternoon daylight across her, the spare pale room out of focus behind. A quiet held moment at the end of a calm few minutes.