|
Every night we sketch a storyboard |
|
Drawings spread across the bed |
|
Deciphering the day ahead and conversations |
|
Sequences and camera angles |
|
You're using charcoal and felt-tips |
|
I'm posing mannequins to map it all out |
|
The imaginary camera work |
|
Kicking leaves up in the cul-de-sacs |
|
Where every road's a movie set |
|
And every conversation has been pre-approved |
|
And road-tested by focus groups |
|
And here, back in real life at our desks |
|
Still imagining we're filming on sets |
|
Where the cameras film in single takes |
|
So you pick out locations and directions for the cast |
|
I'll be learning lines for all occasions that arise |
|
We'll imagine clapperboards for every single scene in our day-to-day lives |
|
And you'll find continuity from one clip to the next |
|
I'll be free to improvise as long as it complies with an overall view |
|
Where the cameras always follow you |
|
And it's enchanting in a certain way |
|
Every word is magnified |
|
Every look considered |
|
Yet we're bordering on obsession on directing |
|
Alongside fictitious camera crews that film |
|
Imaginary plots that never work through |
|
When the cameras never follow you |
|
So you could leave the stories and the dialogue to chance |
|
I'll be free to improvise and take things as they come and |
|
We'll keep up an open mind for every single scene in our day-to-day lives |
|
And we'll find continuity from one day to the next |
|
No-one needs a storyboard to tell us what we should have known all along |
|
That the cameras follow everyone |
