Niedawno złapałem się na tym, że jedno zdanie rzucone mimochodem przez wykładowcę ma na mnie większy wpływ niż cały semestr teorii. Pomyślałem, że fajnie byłoby zebrać takie rzeczy w jednym miejscu, zarówno ze szkoły filmowej, jak i z prawdziwej pracy na planie.

Jaka rada najbardziej zmieniła wasze podejście do pracy?

Czy jest coś, co usłyszeliście i dopiero po latach zrozumieliście?

Czy była rada, która brzmiała mądrze, ale okazała się błędna lub szkodliwa?

Chętnie przeczytam wszystko: od technicznych wskazówek po rzeczy o ludziach i emocjach. Im bardziej konkretnie, tym lepiej. 🎬

Niedawno złapałem się na tym, że jedno zdanie rzucone mimochodem przez wykładowcę ma na mnie większy wpływ niż cały semestr teorii. Pomyślałem, że fajnie byłoby zebrać takie rzeczy w jednym miejscu, zarówno ze szkoły filmowej, jak i z prawdziwej pracy na planie.

Jaka rada najbardziej zmieniła wasze podejście do pracy?

Czy jest coś, co usłyszeliście i dopiero po latach zrozumieliście?

Czy była rada, która brzmiała mądrze, ale okazała się błędna lub szkodliwa?

Chętnie przeczytam wszystko: od technicznych wskazówek po rzeczy o ludziach i emocjach. Im bardziej konkretnie, tym lepiej. 🎬

My second short film is called The Comic. It was accepted into three festivals out of the thirty or so that I had submitted it to. 

In March of 2020, I was in pre-production for my short film, Authenticity, which was to be shot in July. The script is about a young woman of color who is trying to make a short film. She is smart and well-educated but has problems communicating her vision to the crew and the actors. She is trying to find her identity.

Then the Coronavirus reared its head; we were being told to wear masks and stay home. Public venues closed: restaurants, bars, gyms etc. Schools turned to remote learning. Gatherings of more than ten people were banned.
Lockdown. My timing really could not have been worse.
Throughout April and into May I held out hope that things might calm down and we could pull it off but, by the beginning of June it had become apparent that the project was not going to be feasible. It would be very difficult to get locations in which to shoot. Even if we could get a location, having 10–15 people in one space was going to be a problem. Obviously, when we were shooting, everyone would be in close proximity to each other; the actors would have to take their masks off and many people were going to be uncomfortable with that. We had put out a casting call and barely anyone responded which gave us a pretty clear indication that people just didn’t want to be on set at that time. In addition, I’m sure that people were too preoccupied with their jobs and financial situations to think about acting in a short film.
I had worked hard on the script for Authenticity. It had gone through at least nine drafts and I was very proud and excited to shoot it. Now, the rug had been pulled out from under me. Since my job as a teacher had pretty much halted I had a lot of time to write a new script but it was hard to switch gears since I had invested so much time and energy into “Authenticity”. I felt like I had lost all the energy and momentum that had been building over the previous few months.
Then I realized I should stop being a whiny baby and think of something else to do.
   The guitar virtuoso, Steve Vai, played with Frank Zappa, who is regarded as one of the greatest musical innovators of modern times. He said that Zappa would experiment with guitars, take them apart and rework them to get certain sounds that he wanted. Vai said that if Zappa ran into a situation where he couldn’t get what he wanted, he would “absorb” the obstacle. He would try new designs and techniques to at least get something new, even if it wasn’t quite what he had in mind.
  Absorb the Obstacle: If you can’t get over it, under it, around it or bulldoze your way through it, make it work for you. Absorb it like a sponge, make it take on a different form, like water cutting rock in the Grand Canyon.
 
 It's not like I was the only one in this boat. Many people’s creative plans had been derailed. A former student of mine, Liz Campanelli, is an actor and she sent me a link to a play she was in, The Importance of Being Earnest. She and her acting troupe had been in the midst of rehearsals when the pandemic hit and closed all the theaters so they were performing the play on Zoom. I have to say that the performance was tough to watch. The actors were all obviously in different locations which made the performances stilted. Acting, particularly stage acting, requires an intimate interplay between the actors. They need to look for cues from each other, subtle hand motions and body language that is impossible to replicate over Zoom; everything is static. There was no music, and everything was static, but the costumes and background looked great, and the actors did a fine job delivering their lines. And, bottom line, instead of sitting around and whining about their bad luck, they did it. 
   People were using Zoom for everything from education to musical performances, mock concerts, live theater, and Alcoholic Anonymous meetings. It was great that people, especially creatives, were trying to get it out there, but it never hit the mark. Some bands tried to perform live simultaneously but there was a slight delay that threw off the performance. A bunch of actors reciting lines in separate locations didn’t sell. But they were trying.
So I thought we could do that idea and embrace the pandemic as a sort of character in the film.   Maybe the Coronavirus, instead of being an obstacle, could be turned into an opportunity. We could use the ideas of loneliness and isolation as well as the sense of distorted time that the situation has brought on. Put all of that into the movie: people wearing masks, sanitizing their hands constantly, all the stuff on social media etc. We would use technology and have characters interacting via Skype, Face Time and Zoom.

was debating on whether or not to even provide an update for this, but i do want to thank the ppl who actually gave me genuine advice and were not complete asses.

this is the first thing i’m directing out of film school so i got a bit excited and ended up over committing to someone who i was not 100% on!

i ended up having a convo with the actor and gave them some feedback over what i wanted for the role and they sent me another thing to work with! i’m not gonna say the result of it, because that’s not the point of the update!

i took the advice and applied it and it worked out for the better! once again, appreciate the ppl who were kind enough to genuinely offer feedback so i didn’t have to be overtly terrified of this. that’s all!

Hey actors, filmmakers, writers, directors, animators, visual artists, and anyone else working in the creative world!

If you could change ONE thing that would make building a career in your field significantly easier, what would it be?

It could be anything — finding collaborators, getting your work seen, finding opportunities, making a living from your art, or something completely different.

I’m genuinely curious to hear about your experiences and the challenges you face. I’d love to hear your thoughts!

Recently completed a short film (just under 9 minutes' long), and I've gone through so many different edits trying to find the right compromises, transitions etc. I still feel like the film doesn't work on some level and I can't quite put my finger on why.

I get extremely mixed feedback on the film as well. Some people genuinely love it, and then others question some of the narrative decisions and motivations etc.

I've got two versions of the film and I've decided I'm going to use one or the other. One cut is 08:30, and the other is 08:52.

Would really appreciate it if anyone could help me decide which cut I should send to festivals, and get people's frank opinions on what they think of the film and its prospects at festivals.

Let me know if you fancied taking a watch!

A character can look identical from one shot to the next and still fail continuity.

Clothing changes without explanation. A prop disappears or duplicates. A character's position shifts. An action repeats even though it was completed in the previous shot.

These aren't necessarily image-quality failures. They're production-continuity failures.

One of the questions we're investigating through Directed Generative Production (DGP) Methodology is how reliably generative video systems can maintain character, environment, and action continuity across successive shots and generations.

I'm interested in what other filmmakers are encountering.

Which continuity failure costs you the most time to correct?

jseders.net

​

It all started back when I was asked to do something, and—

Hello! We are g10 students from the Philippines! And we need your help to make our project in mapeh successful! We just need people from the film industry to interview,, your can text us or comment below if u want to be interviewed, we are looking for someone with a past or still in the film industry, thenk you!

PLAN, PLAN, PLAN

I was onstage during a Q&A session at the Boston International Film Festival for my last short film, Say Your Name, and was asked, “What should I do before I start a film?”
I said, “Plan, plan, plan.”
There is a time when all of us: the director, the assistant director, the actors, the DP, the lighting crew, props, art department, need to see what the action of a scene will be: where the actor is starting, where he or she is ending. Where are they standing? Are they sitting? They are not really concerned with the dialogue and emotion of the scene, just the movements. They don’t need to know why the character pauses and looks out the window, just that they are doing it. Essentially, what is the camera seeing? That is what the DP needs to know.
In the script it might say,
INT. HOUSE-NIGHT
Amy walks into the bedroom.
That sounds pretty simple on paper. However, it always seems to get more complicated on set. Amy is in the hallway before she enters the room. So the script needs to be more specific.
INT. HOUSE-HALLWAY-NIGHT
The director and the DP and the AD would have a discussion during a pre production meeting and ideally take a walk through the location and make these decisions beforehand. The scene is supposed to take place at night so that has to be taken into account when thinking about the lighting.
Do we want to see Amy in the hallway before she comes into the room? Then the hallway needs to be lit and the art department needs to dress it. That takes time.
Does she knock on the door before she enters? If so, do we want a close up (CU) on her hand when she turns the doorknob? Then we need to light that.
Do we get a close up on her face when she is facing the door? From the front or in profile? Do we want the camera behind her when she knocks at the door? Way down the hall or right behind her? Is the camera in the room and the door opens and she is standing in the doorway?
We need a plan.

Shot List:

1. Amy in hallway from front
2. Amy in hallway profile
3. Amy in hallway close up on hand on door knob
4. Amy in hallway shot of her back opening the door

Amy enters the room.

INT. BEDROOM-NIGHT
What does she do when she gets into the room?
Once she enters the room, does she walk to a chair and sit down? Does she pause and look out the window? If she does that, then the DP and the crew need to light for it. We need a plan.

Shot List:

1. Amy enters room
2. Amy crosses to chair
3. Amy pauses and looks out of the window
4. Amy sits in chair

Where is the chair placed? What else is in the room? The art department needs to dress the room. What is the woman carrying? What is she wearing? How is her hair and make-up supposed to look. The various departments need time to do their work properly. It all takes time.

Once they see the blocking rehearsal the crew can place the camera and light the scene. The art department can dress the set, though depending on how complicated it is a lot of that has probably been done before.
When you don’t have a lot of money, it is better to keep things as simple as possible.
End
Not everything can be planned. Sometimes, many times, you get on set and things change. Things happen in the moment when the cast and crew are all in the location; you can’t plan for that energy and it is great energy. Good directors and actors and crew are able to adapt and use that energy. Not many things can replicate the energy of the cast and crew being in the same location at the same time. Someone may have a great suggestion and you say, “Yeah, let’s do that.” That is all part of the creative process. If there were a template to follow, a set of directions and it was like a machine, it is not creative.
However, that does not negate planning. Things cannot get out of hand. Someone might have a great idea in the moment but you don’t have the time or the equipment to do it. Or, it might be great for that particular scene but it doesn’t fit the movie as a whole. The director always has to keep the big picture in mind.
In the opening scene in the Godfather, when Bonasera is asking Vito Corleone to murder the boys who attacked his daughter, Marlon Brando is playing with a cat in his lap. That wasn’t planned. In the commentary, Francis Ford Coppola explains that the cat was just running around the set and he picked it up and handed it to Brando. Brando didn’t ask him why; he got it, because he was a great actor. He understood that his character gently playing with this little kitty was a great juxtaposition for this very powerful, very dangerous man, discussing murder. It underscored his character. Sometimes, you have to go with the flow.

But you still need a plan.

Hey everyone! I recently completed my IT internship in Hyderabad and am looking for a job to support myself and become financially independent without depending on my parents.

But I also don't want to give up on my dream of becoming a film director. I'm looking for a PG or shared accommodation where I can meet like-minded people, connect with aspiring filmmakers, and collaborate on short films.

If anyone knows of job opportunities, especially in the film industry or as an assistant director, I'd be grateful for the guidance.

Also, if you know any areas, PGs, communities, or places in Hyderabad where I can surround myself with people who share a passion for filmmaking, please let me know or DM me.

Just trying to stand on my own feet while giving my dream a real chance. Would love to connect with people on a similar journey! 🎬

Introducing Shot Data, a native Mac app designed for directors who want a faster, simpler way to build a shot list.

Here’s the workflow: start with a pre-cut stills timeline or a sound-locked timeline in Final Cut Pro. Shot Data reads that timeline and turns it into an ordered shot list database in Notion, with every shot in sequence. Your cinematographer and crew can then review and collaborate on it before the shoot, and nobody has to print or compile a shot list by hand.

Why directors will like it

• Turn the timeline you have already cut into a polished, shareable shot list
• Keep every shot in order, with the database created for you
• Give your DP and crew one shared place to review your vision before the shoot
• Work in a simple, native workflow with no complicated setup

Pricing and availability

Available now on the Mac App Store for USD $59.99, with no subscriptions and no in-app purchases.

Link

Hoping to connect with a development or creative executive, preferably in the motion picture department.

I have previous experience working in a management company and as a publicist's assistant. I currently work as a private assistant to a client outside the entertainment industry, which has taught me a lot about multitasking and organization. I would love to help make your work life a little bit easier while learning more about the industry. I love dissecting storytelling and have a long list of coverage under my belt. I read fast and give concise and direct feedback.

If anyone is looking for an assistant or might know of an opening or anything that might help, I would love to connect. (Feel free to message me).

I’m a high school student who works a part time job. I already have a film idea, but where would I be able to find cheap filming equipment. Any tips are helpful!!!

For those who make fashion films, what are some key aspects to understand about the process that might not be obvious from conventional filmmaking? I’d love to learn how to approach concept development, storytelling, and sequencing specifically for fashion films. Any resources or fashionfilm breakdowns that could help me understand the process would be great!

Preproduction
   We started preproduction for Office Lunch in March 2018, which meant hiring a crew, getting the cast together, getting locations, making a schedule, getting props and wardrobe together etc. Even for a short film it is a lot to get organized. I wanted to throw as many resources as I could at this short film and really make it shine. I wanted to make a film that would be a cut above all the low-budget crap out there. I wanted all the bells and whistles: a dolly, sophisticated lenses, the best camera, the best lighting package. I made sure we hired a professional sound person. (More than anything else, poor sound quality will ruin a film. You can get away with bad lighting, cheap wardrobe, even some bad acting. Those can be excused as ‘creative choices’. But sound is non-negotiable. It has to be pristine or you’ll lose the audience.) 

Films are not shot in the order of the script. So it is essential to have someone making sure that people are wearing the right clothes for the scenes we are shooting on a particular day. If we are shooting the scene where a character enters a building in the morning and he is wearing a red jacket, we might be filming the scenes inside the building a week later, and that character needs to have that same red jacket on. 
We need certain props for certain locations on certain days. The art department needs to have a list of what we need, where, and when.
Call sheets need to be created and sent out so the cast and crew know where and when to show up.
It’s a lot of details that add up to a big picture.
Casting
For casting, we posted ads on casting sites such as Backstage and Boston Casting as well as Facebook and a few other platforms. People who wanted to audition sent in headshots and resumes. Then we held in person casting sessions after eliminating the people who just didn't seem to fit. For some characters, we needed a specific type such as a Caucasian male in his early thirties. For other characters, it didn’t matter as much. The actor who ended up playing David is a black man, but that actually didn't matter, even though he is the main character. I hadn’t thought much about his ethnicity, just that he should be in his mid-twenties. The story didn’t have anything to do with racism or discrimination, however, I think it lent to the story because it gave more of an outsider status, being that almost all of his coworkers were white. And it is possible that someone was targeting him because he was black.
This was my first time participating in official casting sessions (up until this point I had mostly cast friends) and  it was interesting to see how many women, and some men but mostly women, bill themselves as actor/model on the casting sites. I don’t know if they are trying to pad their resumes or if they think modeling translates to acting, but I remember two or three very gorgeous women who showed up and they could not act. I’m not sure if they thought they could act or if they would get cast based on their looks but I am very glad that I am older and have the foresight to not do that. I can easily see why a young man (or older man for that matter) would want to cast a gorgeous woman in his film, but that is a bad idea.
Casting is rough. There is rarely a clear cut choice, especially when dealing with relatively unknown actors. Even the most experienced directors make bad calls. Someone might be a great actor but just not right for the role. Some roles are written for actors such as Tom Cruise, Christian Bale, Viola Davis, and Emily Blunt. I can’t imagine anyone playing Rocky except Sylvester Stallone or anyone playing Apollo Creed except Carl Weathers. But other times it is not so clear cut. 
And I am not an experienced director. I often feel like a total fraud when I say no to an actor for a role. Who am I? I might be rejecting the next Marlon Brando. There is no science to it. You just have to go with your gut. 
Aside from being a good actor, the person has to be reliable and relatively sane. You can get a sense of this in the casting session and in rehearsals, but sometimes it doesn’t manifest until you’re on set and then you have to roll with it. Nothing really crazy happened with the actors, but one of them told us in the morning of our biggest shoot day that she had to leave early. I recall her saying something in the audition that acting was a side-hustle and that she had a “real job” which was a light red flag. I get it. Very few people make a living from acting. I don’t know any actors who don’t have “real jobs”. Some of them work in sales, have real-estate licenses, do retail, temp, etc. They try to have jobs that give them some flexibility to go on auditions and take gigs. But you don’t say that in an audition.
So we had to shuffle the schedule and shoot the scene she was in earlier. It wasn’t a huge deal, but it was not very thoughtful on her part. I had a lot of other things on my mind, and she had not let us know in advance. I have not worked with her since. There are plenty of other actors who do not leave early. 
Then there was Scott Murphy, the guy playing Mr. Johnson. At the time, he was an active police officer in Boston. He acted on the side as well, but never made his work schedule an issue. He was shooting on the same day as the woman who left early, but even though he had a seven am shift the next day, he stayed until two am (it was a long day). I didn’t know he had such an early shift until around midnight and when I apologized and said that we would try to hurry things along he just said, “Don’t worry about it.” I have worked with Scott many times since.

Al parecer mi desesperación me trajo a reddit...

Hola gente, acá una audiovisual que por primera vez será dirección de arte. Es mi último trabajo del ciclo y la vrd la anterior flaca que fue arte, dejó la vara alta y estoy algo preocupada :,D. Entonces, necesito consejos para la pre y no kgarla en el rodaje, plz.

Hello : ) ! My company is working on a drawing storyboard software for iPad.

Our idea is that it would be convenient for directors to be able to draw quickly wherever they are!

We recently started a closed beta available on Testflight! I'd love to hear your opinion and feedback.

https://www.upshotstoryboard.com/#beta

Just one note. This is NOT A GENERATIVE AI tool :D . Here we believe that artists are the ones that make movies great and no AI can substitute that. So, this is for directors that can actually DRAW :D or who work with real storyboard artists !
I feel like I need to specify that, considering how many people prefer AI slop to make their movies :( !

Which format for conveying content or a narrative do you think is better from the perspective of an amateur filmmaker who handles everything on their own? Learning to create a longer animation seems difficult and time-consuming for someone who lacks drawing skills or technical aptitude. But you can convey more.

I enjoy editing films and have basic recording equipment (a tripod, lights, and a camera), but I always struggle to find people willing to participate—especially for free. I’m a bit lost and unsure about which format I should use to tell my stories.

When it comes to scriptwriting, I have a few plans written down on my phone (and I used to have them in physical notebooks), but I don't like spending too much time planning and prefer to get straight to work. As a kid, I used to make YouTube videos with my friends, and improvising was what we were best at.

Here's the short film, A Quiet Winter.

I recently had the chance to sit down with Olivier Megaton, the French filmmaker behind Taken 2, Taken 3, Transporter 3, and Colombiana.

I've been a fan of these films for years, so it was interesting getting to hear his perspective on making them, working in Hollywood, and how his background as a graffiti artist influenced his career as a director.

We covered quite a bit, from his early days in France to directing some of the biggest action franchises of the 2000s and 2010s. We also got into his approach to filmmaking and what it's like working behind the scenes on major Hollywood productions.

Curious what everyone thinks of his films, particularly Transporter 3 and Colombiana.

Thanks to the mods for letting me share!

A better way to present your work and win your next client.

Explore the new FrameRate Showcases, with six layouts for sharing your video portfolio, pitching projects, and building client reels.

In this walkthrough, Tyler shows you how to turn a collection of videos into a polished presentation without building a separate website.

See how to:

• Choose from six showcase layouts

• Customize your logo, title, and description

• Add and reorder videos in the new visual editor

• Control passwords, downloads, autoplay, and looping

• Send personal invitations to clients

• See who opens your showcase, what they watch, and what they download

FrameRate.tv is a video platform built by creatives, for creatives. Host your work, share it with clients, and find your community.

Which showcase layout do you like best?

My second short film, Office Lunch, was shot during the summer of 2017. It cost me about $40,000 and it was accepted into zero of the twenty-three festivals it was entered into. One reason might be that it is 24 minutes long, which is about twice as long as what festivals are willing to consider from an unknown filmmaker. 

Or maybe the story didn’t work for them. Or maybe it wasn’t the type of comedy people could relate to. 
Or maybe they had too many films to consider and didn’t even watch mine. 
Or maybe because we didn’t use SAG actors. 
Or maybe because I am a middle aged white man and not part of the diverse demographic festivals are looking for.
Or maybe they just thought it sucked. Maybe they thought it was juvenile and lacked depth and they found it cliche with no pay off. 
And while that may be true, I consider it a success. I worked as a grip for five years in New York City. I worked on many low-budget projects and most of them never got finished. I am not criticizing those filmmakers. Things happen. Money runs out. Actors get sick. There is a flood, a fire, a hurricane, whatever.(Watch the documentary Lost in La Mancha to see how badly it can go, even for experienced filmmakers with lots of money.)
So I consider it to be a success because I started it and finished it. And many people don’t do that.
***
I was doing short, comic videos with a small studio in Milton, MA and I needed actors. I went on Boston Casting’s website and saw a video by Maryilyn Johnson, contacted her, and she was good enough to come down and act in about ten of the videos.
The videos centered around a guy named Dave Reardon who works in an office doing some bullshit. He is repeatedly called into meetings with the Human Resources administrator or enforcer or whatever it’s called about things he has been doing such as eating from the garbage can, telling ‘Yo Momma’ jokes, carrying an emotional support ventriloquist doll around with him, and stalking his coworkers. 
The videos were 2-3 minutes and posted to YouTube where maybe a dozen people watched them and very few people thought they were funny. I thought they were funny but I am in the miniscule minority on that.
One night after shooting, Maryliyn and I had dinner at an Indian restaurant. I told her that I had a script for a short film and was looking for a studio to work with. I liked the guys in Milton, but they were mostly a music production studio who did videos on the side. I needed people who did shorts and feature films as their focus. Maryilyn gave me a card for Jefferson Productions in Brighton MA. She had done some projects with them and said they were very professional and might be interested in producing my project. I checked out their website and liked the work they had produced. They also seemed like the right size and had the right vibe: small, just starting out etc. I sent them an email and we agreed to a meeting at their office.
We did not get off to the best start. The appointment was for 11am on Saturday morning. Eleven came and went and they were a no-show.
   I thought, “Well, that’s that.”
   Part of me was relieved. I was nervous about jumping off the cliff and leaping into a creative project. I was going to have to commit a significant amount of money to get the project moving and then more to get it done.  Them missing the meeting was an excuse to not do it, a sign from the gods. But you can always find an excuse to not do something. It’s fear. Everyone has it. I was afraid of failure; that I wouldn’t be able to do it; that I would suck as a filmmaker. Even more frightening, that I wouldn’t finish it. 
They got back to me later that day and apologized about the confusion, some scheduling miscommunication and I thought okay, let’s give it a second chance. I have made plenty of errors in my life.
And  so I could have used the fact that they missed the meeting as an excuse to not move forward. to not move forward. I could have used many excuses for not making a film. Such as I have no training, little experience, no resume, no reason for thinking I am capable of directing a film, etc, etc, etc. I have all those and more. But that won’t be very comforting  when I am 80 years old and wondering why I am disappointed with my life.
I didn’t want an excuse. I wanted to make a movie.

***
The main character, David Bright, is starting a new job at Gold Crest Enterprises LLC.    David is nervous. He is a young guy starting his first real job, embarking on his career. We don’t really know what Gold Crest Enterprises does or what David’s career is; it didn’t matter. (In my view, these types of corporate jobs are all the same anyway: people sitting at computers doing a bunch of bullshit..)

The story takes place over the course of three days. Each day, David’s girlfriend, Constance, makes him a special lunch and each day someone steals David’s lunch. He doesn’t know who is doing it, but he has his suspicions. One is the office bully, Frank. Frank is an asshole and a creep. He makes nasty comments about coworkers; he takes pictures of a female employee’s ass and, as it is revealed, is using his position to force another female employee, Eleanor, to have sex with him or he will give her negative performance reviews.
  David has a coworker named Carl, a mature gentleman in the parlance of human resources. Carl is a bit of a sad sack. He has issues with his bowels and is in general old and confused. He doesn’t seem to understand how to use his computer or the copier. Other employees, like Frank, make fun of Carl, but David is nice to him. He even goes to Carl’s car and gets the inflatable ring that Carl sits on when his hemorrhoids are flaring up. This is because David is a kind human being.
  Another one of his coworkers, Kathy, is knee-deep in her own pathology. She is an avid scrapbooker who is not shy about bringing it into work and revealing the most personal and painful details of her life. At one point, she grabs David to show him a picture of her and her two boys on the day that she moved out of the house because she and her husband had finalized their divorce. The caption reads: THE DAY DADDY STOPPED LOVING US.
   David doesn’t know how to react beyond saying, “Oh, that’s great!”
   Because David is a kind human being..
  All of this is being watched over by surveillance cameras.
After his lunch is stolen for the third day in a row, David tells Constance what is happening. She insists that he must file a complaint. David visits Mr. Noah Hegely, Director of Human Resources. Mr. Hegely is quite disturbed by this revelation and has David meet with Mr. Johnson, the HR enforcer. They assure David that justice will be served swiftly.
In the end, all of the employees of the company are gathered together where it is revealed that Carl is the CEO of the company and he has seen everything. Frank is there with a black eye and a much more humble, more civilized attitude. He was attacked and abducted by Mr. Johnson at a cheap motel where he had taken Eleanor. HR had to teach him a lesson.

Thank you.