I thought, eventually, they'd inform her that she was a robot. However, unaware of it. I didn't guess that correctly. I think the story is important, on so many levels. Dismissing someone, as if they were a toaster isn't that much different than dismissing someone because they happen to come in a colour you don't like. And, since the robots were made by humans, the same propensity for choice must be included.
I genuinely liked the double-twist : the cop and the detective were robots, as one begins to suspect halfway through (Shea was right, but not in the way she thought) ... but also Mark wasn't a robot (Shea was wrong -- the deterioration of her relationship was sadly ordinary). Some constructive criticism : 1. it doesn't matter how many times a character says "f*ck", it's no replacement for good writing and real feeling; indeed, it's terribly easy to over-use, as here; 2. use something better than an empty paper towel tube for a microphone; 3. why were they chasing her??? why was she running??? after they catch up with her, they literally walk away ... oh! maybe she was trying to escape the story-killing exposition at the end? which brings me to ... 4. why on Earth did you stop the unfolding story to dump exposition on us?!? You can solve #3 and #4 together with some rewrite : Have the cop actually grab Shea, handcuff her, and drag her off; that gives the chase some weight, some consequence. Change the exposition to dialog during the ensuing scuffle: Shea: "What do you WANT?!?" Cop: "The planet. But we are patient. We will only gradually replace humans. As they die naturally. As Mark did." This becomes the moment where Shea finally understands that Mark was NOT a robot. The detective delivers his line about Mark no longer loving Shea. Then Shea screams at the cop and detective, her realization turning to despair, and her despair to panic: "You will never take over! We will fight you! We will kill you ALL!!!" Place some onlookers to help cement the detective's point when he says earlier, "Certainly no one will believe her now." (i.e., she's become the raving lunatic they want to portray her as). Then the cop can deliver his ultimate line in sotto voce, or once Shea is in the cop car, "If humanity prefers a war, we are prepared to ... accommodate that desire." Close as you did (but in the cop car) with Shea lost in bitter realization, remorse, and helplessness. (Thus, you still get to make the story's main point about the disaster of human disconnection.)
@@WickedPrince3D play on words : noun phrase : a humorous way of using a word or phrase so that more than one meaning is suggested play on words : idiom : a humorous use of a word with more than one meaning or that sounds like another word
@@landru27 Umn, not sure why you feel you need to explain something in a conversation you weren't part of. *shrugs* But I suppose you know more about it than the people who were engaged.
Too predictable..., & any "civil person / suspect wouldn't constantly say the 'eff" word so many times during an interview without being reprimanded, especially by a police officer...! Where this producers civility..?
I loved this film! Thank you
I knew the first time the “cop” came in with the badge on the wrong side. Very good short film, thanks
I thought, eventually, they'd inform her that she was a robot. However, unaware of it. I didn't guess that correctly. I think the story is important, on so many levels. Dismissing someone, as if they were a toaster isn't that much different than dismissing someone because they happen to come in a colour you don't like. And, since the robots were made by humans, the same propensity for choice must be included.
That's what I thought the twist would be too right up until they walked off. That would have been a better ending.
Awesome short film! I really enjoyed it. The story and the cast are just great! Thank you.
Good thanks
And who is to say it doesn't start like this. Cheers.
That was quite the nasty twist right there.
Really nice! Thanks!
That was really good and well written.
Brutal!
The greatest crime is to stop loving. Or not
😃😃Ha,ha, the X files reborn...
acting was so-so but very good story.
Good story, I could have done without the "Body Snatcher" screams and the ending just kind of dwindled, but overall pretty good.
Yeah I noticed the Body Snatcher (The sequel with Donald Sutherland) screams too, I was thinking that exact thing when the first guy did it. Lol.
Brilliant
,however credit music is too similar to X files op
Are those the robots in disguise I heard about?
they were lying to her
I genuinely liked the double-twist : the cop and the detective were robots, as one begins to suspect halfway through (Shea was right, but not in the way she thought) ... but also Mark wasn't a robot (Shea was wrong -- the deterioration of her relationship was sadly ordinary).
Some constructive criticism :
1. it doesn't matter how many times a character says "f*ck", it's no replacement for good writing and real feeling; indeed, it's terribly easy to over-use, as here;
2. use something better than an empty paper towel tube for a microphone;
3. why were they chasing her??? why was she running??? after they catch up with her, they literally walk away ... oh! maybe she was trying to escape the story-killing exposition at the end? which brings me to ...
4. why on Earth did you stop the unfolding story to dump exposition on us?!?
You can solve #3 and #4 together with some rewrite : Have the cop actually grab Shea, handcuff her, and drag her off; that gives the chase some weight, some consequence. Change the exposition to dialog during the ensuing scuffle: Shea: "What do you WANT?!?" Cop: "The planet. But we are patient. We will only gradually replace humans. As they die naturally. As Mark did." This becomes the moment where Shea finally understands that Mark was NOT a robot. The detective delivers his line about Mark no longer loving Shea. Then Shea screams at the cop and detective, her realization turning to despair, and her despair to panic: "You will never take over! We will fight you! We will kill you ALL!!!" Place some onlookers to help cement the detective's point when he says earlier, "Certainly no one will believe her now." (i.e., she's become the raving lunatic they want to portray her as). Then the cop can deliver his ultimate line in sotto voce, or once Shea is in the cop car, "If humanity prefers a war, we are prepared to ... accommodate that desire." Close as you did (but in the cop car) with Shea lost in bitter realization, remorse, and helplessness. (Thus, you still get to make the story's main point about the disaster of human disconnection.)
did the cameraman have parkinson or something ffs hold that camera still
Interesting plot, and the female role is played quite well. I'm not as sure about the two guys' roles. They seemed, well, mechanical...
I think that was the point. They were acting mechanical because they were machines. They were telegraphing the end plot.
@@WickedPrince3D ... Duh.
@@thomasklugh4345 :P You were the one saying their acting looked mechanical.
@@WickedPrince3D play on words : noun phrase : a humorous way of using a word or phrase so that more than one meaning is suggested
play on words : idiom : a humorous use of a word with more than one meaning or that sounds like another word
@@landru27 Umn, not sure why you feel you need to explain something in a conversation you weren't part of. *shrugs* But I suppose you know more about it than the people who were engaged.
Too predictable..., & any "civil person / suspect wouldn't constantly say the 'eff" word so many times during an interview without being reprimanded, especially by a police officer...! Where this producers civility..?
A child wrote this story. It was so obvious and telegraphed. Boring.
Too much bad language.