SHOOTING AN ELEPHANT: AN EXISTENTIAL JOURNEY

FROM LOS ANGELES TO THE

THAI ELEPHANT HOME

A Project Report
Presented to
The Faculties of the Departments of Television, Film and Media Studies
and
Music, Theatre and Dance
California State University, Los Angeles

In Partial Fulfillment
of the Requirements for the Degree
Master of Fine Arts
in
Television, Film and Theatre

By
Erik Boccio
November 2014

 2014
Erik Boccio
ALL RIGHTS RESERVED

ii

The thesis of Erik Boccio is approved.

Alan Bloom, Committee Chair
Bridget Murnane
Stephen Rothman
John Ramirez, Department Chair
John Kennedy, Department Chair

California State University, Los Angeles

November 2014

iii

ABSTRACT
Shooting an Elephant:
An Existential Journey from Los Angeles to the Thai Elephant Home
By
Erik Boccio
Shooting an Elephant is a film that depicts the surrealistic fantasy of a man
running from his troubled past. For the protagonist and author alike, it answers the
question If you could go anywhere, where would you go?
This thesis report describes the films, writings, and animals that influenced this
filmmakers visual anecdote, which culminated in an exotic land.

iv

ACKNOWLEDGMENTS
I would like to express my gratitude to the RSCA Fund to Support Research
Scholarship and Creative Activity, the Thai Elephant Home in Chiang Mai, Thailand for
their cooperation and involvement in the project, and to Gao Shen, Gao Ya, Neil Boccio,
& Deirdre Continelli for their contributions and support.
I would also like to thank the members of my committee; Bridget Murnane,
Stephen Rothman, and Alan Bloom for supporting me throughout my creative and
academic journey.

TABLE OF CONTENTS
Abstract .............................................................................................................................. iv
Acknowledgments................................................................................................................v
List of Figures ................................................................................................................... vii
Chapter
1. Introduction .............................................................................................................1
2. The Process .............................................................................................................4
As Documentary ................................................................................................4
George Orwells Shooting an Elephant ..........................................................5
Collaboration......................................................................................................6
3. Research ..................................................................................................................8
Coursework ........................................................................................................8
Environment: Thailand & Elephants .................................................................8
Filmmaking: A Minimalistic Approach ...........................................................10
Theme: Existentialism .....................................................................................11
4. Production .............................................................................................................14
5. Evaluation .............................................................................................................19
6. Conclusion ............................................................................................................22
Notes ..................................................................................................................................24
Works Cited .......................................................................................................................25
Appendix: Script ................................................................................................................27

This project is accompanied by a DVD shelved in the Music and Media Center of the
John F. Kennedy Memorial Library of California State University, Los Angeles.
vi

LIST OF FIGURES
Figure
1. Buddhist Monk at a Temple in Chiang Mai, Thailand ............................................3
2. Erik & Ya Shooting a Rowdy Female Elephant ......................................................7
3. Fasai, Thai Elephant Homes Youngest Resident..................................................10
4. Actor, Quinn Butterfield Preparing for his Night Bazaar Timelapse ....................13
5. Thailand Production Calendar, December 2013 ....................................................15
6. Heather Shooting POV Shots with Head-Mounted Go Pro Camera .....................16
7. Shooting a Sunset Timelapse of an Ancient Buddha Statue in Sukhothai ............18
8. Erik Shooting Actor Quinn Butterfield from Atop an Elephant ............................21

vii

CHAPTER 1
Introduction
Created as a work of fiction, my thesis project entitled Shooting an Elephant
consists of a twelve minute film which portrays the journey of a man running from his
troubled past. The unnamed protagonist finds solace in the one place he has always
fantasized about, amongst the elephants of Southeast Asia. The story begins by alluding
the man is running from something dire, possibly a serious crime. It immediately picks up
in present day Thailand where his work as a mahout1, or elephant handler, serves as the
backbone of the film. While spending his days alongside the resplendent and seemingly
therapeutic creatures, he fills his nights by indulging in the seedier qualities of Thai
culture. Recalling life lessons from his past, the man ultimately realizes he cannot run
from his problems. Confronted by an authoritative figure from the United States, the film
concludes when the man willingly surrenders his surrealistic freedom in this strange land.
The majority of the film was shot in December 2013 in the northern region of
Thailand, around the city of Chiang Mai. Additional coverage exploring the Thai
landscape was filmed around the rest of the country, specifically in the cities of
Sukhothai, Bangkok, Krabi, and the tropical island of Ko Phi Phi. Aside from the
existential2 journey of the protagonist, the film also pays homage to Thailand and Thai
culture. In order to bring a narrative balance to the film, several vignettes of the
characters past were filmed in Los Angeles, California in January and August of 2014.
I chose to write and create this particular project for two specific reasons. The
first reason was my ongoing fascination with elephants. When I was around thirteen years
old, I watched a late night PBS documentary on elephants, the title of which has since

escaped me. I was immediately captivated not only by the majestic creatures, but by the
process of telling their story through the medium of film. From a very young age, I was
well aware of my interest in filmmaking and the concept of elephants as a subject. Part of
what appealed to me about elephants was their majesty: Everything is big about
elephants. And something else, something that perhaps provides a more telling glimpse
into their minds: elephants move with a remarkable deftness and grace (Bradshaw 26).
The second reason is the influence of existentialist philosophy in my creative
endeavors. Existentialism is one of the central themes in the film as the man, alone in this
world, is constantly running from his meaningless past. The project originated as a
documentary, but once this existential motif was applied to the project, it took on a life of
its own as a fictional narrative. Perhaps the single most important step of the process was
during my research of existentialist writings of the early twentieth century. I came across
a short essay by renowned English author, George Orwell, entitled Shooting an
Elephant, which became the title of my thesis film. In his essay, Orwell recalls his
experience as a local police chief in English colonized lower Burma3 during the 1930s.
While opposed to the stance of English imperialism, he was implicated as part of the
system himself, and experienced constant animosity from the oppressed natives. Orwell
took it upon himself to execute an unruly elephant against his better judgment, solely in
order to gain the respect of the locals. This piece of writing became pivotal in developing
the structure and narrative of my thesis project.
Other influential works include the novel The Stranger by Albert Camus and the
films of celebrated director Terrence Malick. The Stranger is the story of a man who is
sentenced to death after indifferently killing a man in self-defense. It is commonly

considered a pivotal piece of existential literature. Terrence Malicks films often use
narration by the main character as a plot device, as well as nature as a central theme,
much like my film.
I believe this project serves as a definitive result of the culmination of my
coursework in the Master of Fine Arts [MFA] program at California State University, Los
Angeles. Combining nearly every skill I have acquired in my studies and professional
work, I chose to wear many hats by writing, producing, shooting, directing, and editing
this film.

Figure 1. Buddhist Monk at a Temple in Chiang Mai, Thailand.

CHAPTER 2
The Process
As Documentary
The process of this project was a long and ever changing one. I conceived the idea
in 2006 to shoot a documentary on elephant orphanages in Sri Lanka. I created a very
ambitious business plan to produce a nature film, in the vein of the highly successful
theatrical release March of the Penguins, complete with celebrity narration. The proposal
included shooting the content in High Definition, which although was much in demand,
was also a very costly undertaking at the time. After pitching the idea to several
producers and production companies, the project proved to be too exorbitant. I
temporarily put my passion project aside to focus on the more lucrative enterprise of
Reality TV. After over four years of churning out one garish reality series after another, I
again began to focus my attention on the elephant documentary. I made the decision to
enroll in the MFA program at California State University, Los Angeles in Fall 2011.
During the first two years of my MFA, I gradually developed my elephant documentary,
making key changes to the technical aspects and the location. The cost of shooting in
High Definition was no longer an issue, and with the introduction of HD DSLR cameras
into the market, filmmaking was now easier and more affordable than ever. The location
of my project also changed from civil war-torn Sri Lanka, to the stunning landscapes of
northern Thailand.
The greatest challenge during the creative process of my film came on the final
day of my last required MFA class. After ten weeks of pitching my elephant
documentary, I was informed that only narratives were being accepted. Although I would

agree that there is a power from a documentary that no fictional film could generate a
different kind of power (Schickel 57) I had to turn away from the documentary form.
The next critical step in the process was to transform my documentary proposal, which I
had been so passionate about for so many years, into a narrative storyline, which was new
territory for me. The biggest challenge was to introduce a protagonist while still keeping
true to the intended theme of the Asian elephant.
George Orwells Shooting an Elephant
While rewriting the project, George Orwells Shooting an Elephant became
highly influential on the script. One major identifying factor for me was the concept of
Orwell caught between his position as an imperialist police officer of the town and his
identification with the natives. This notion was akin to my desire to create a documentary
thesis and my requirement to produce a narrative. Furthermore, a motif of this conflict
becomes apparent within my fictional storyline. Much like the pressure Orwell felt to
impress the natives and validate his disdain for British imperialism, the protagonist in my
story suffers the same fate. Although it is unclear what the specific incident was that led
to him fleeing the country, it is implied that he becomes involved in a crime against his
better judgment. Graphic details in Orwells account of executing the elephant are used in
my project as chapter markers, dividing the short film into a three-act structure. The
implication is that the death of elephant is synonymous with the death of the mans
freedom: He neither stirred nor fell, but every line of his body had altered (Orwell 5).

Collaboration
Collaboration played a major role in the process. During my thesis preparation
class, fellow MFA student and collaborator on previous projects, Ya Gao, expressed
interest in doing her thesis on either pandas or elephants in her home country of China. I
approached Ya about collaborating on a joint project that would involve the elephants in
Sri Lanka or Thailand. She immediately saw the potential and we agreed to work together
on three separate films, with one common topic. As we each individually developed our
own narrative scripts, we kept focused on the documentary that would also come out of
this experience. It was then that we made the crucial decision to produce and shoot the
films in the style of a documentary. This meant that in exchange for the production value
of shooting these exotic animals in a foreign landscape, we had to keep the technical
aspect minimal. We prepped a very small camera package limited to two Canon 5D
DSLRS, several lenses, and a small sound kit. In order to stay within a very modest
budget and keep up with constant travel around the country, we had no choice but to limit
the crew to just three individuals and one actor. Both acting as directors of our own films
respectively, I handled all Director of Photography duties while Ya Gao took care of
sound. Another major collaborator was fellow MFA classmate, Heather Fipps, who we
had both successfully worked with in the past. Heather came on board as our invaluable
third crew member and B-camera operator.

Figure 2. Erik & Ya Shooting a Rowdy Female Elephant.

CHAPTER 3
Research
Coursework
The most helpful piece of coursework during my MFA was the requisite class
Directing for Film with Professor Alan Bloom. During this course, we were required to
turn in seven completed short films of varying themes throughout the quarter. This
process included writing, shooting, and editing nearly one film per week. Due to budget
and time constrictions, getting each film finished required a certain do-it-yourself
approach to filmmaking. To me, this meant breaking away from the collaborative effort
of a large crew that I was used to working with in the professional world, and taking on
multiple roles. To keep up with the pace of one film per week, I began to write, shoot,
and edit each film on my own, using minimal equipment and without relying on the help
of others. I believe this work ethic was the only way to shoot and direct my thesis film in
a foreign country, with limited resources and just three crew members. The individual
research I conducted for this project can be divided into three separate categories;
Environment, Filmmaking, and Theme.
Environment: Thailand & Elephants
As much as I would like to imply there was an educated decision in determining
which location to film at, the truth is that of the many elephant homes contacted, only one
expressed an interest in letting us film there. The Thai Elephant Home, north of Chiang
Mai, welcomed such a project. Upon receiving permission to use their amenities for
filmmaking purposes, Ya Gao and I immediately booked a trip to Thailand in July 2013
to scout the location and determine whether it would be the right fit for such a project.

The owners and mahouts at Thai Elephant Home were extremely cooperative and easy to
work with. With sixteen elephants at our disposal and comfortable accommodations for
the crew, all for a very reasonable price, there was no doubt that we had found our
location.
The next step in my research was learning about the elephants. By communicating
with Wanachart Joe Buraphakiat, the owner of the Thai Elephant Home, I learned a
great deal regarding the status of the Asian elephant in present day Thailand. In 1989, the
Thai government banned logging in protected areas of Thailand. This basically put most
domesticated elephants out of work in Thailand, which accounts for around 2,700
elephants. In order for the elephants to survive, they were taken in by privately owned
elephant camps, which survive solely on the support of ecotourism4. Given the fact that
most domesticated elephants would survive quite well if released into the wild, the socalled domesticated elephant holds enormous potential in the conservation of its wild
kind. (Thai Elephant Conservation Center). This form of environmentally friendly
tourism is the basis for my original documentary script.

Figure 3. Fasai, Thai Elephant Homes Youngest Resident.

Filmmaking: A Minimalistic Approach

My professional background is in camera and lighting for motion pictures and
television. By choosing to shoot in a foreign land, with nominal resources and budget, I
would be sacrificing a great deal of the technical aspects I have come to rely on in typical
narrative filmmaking. Logically, the next step in my research was to explore films that
utilize minimal lighting and the use of mostly daytime exteriors. Immediately, one of the
filmmakers I have come to admire most came to mind.
Terrence Malick is an American filmmaker known for his beautifully crafted and
philosophically driven films such as Days of Heaven, The Thin Red Line, and The Tree of
Life. His films all explore the darker side of human nature, and where God exists within
this nature. Malick tends to incorporate sound and image less for simple storytelling and
10

more for visual aesthetic, much like a painter. One technique of Malicks, which I found
especially effective in my own project, is the frequent use of voiceover as a method of
storytelling. Another, and conceivably the most effect technique, is his constant use of
natural light. Malicks films acted as a model for my need to unlearn the necessity of
artificial lighting in film production, especially in a remote location where the luxuries of
motion picture lighting were unavailable to me. This aesthetic is most evident in his war
film, The Thin Red Line.
The Thin Red Line is not a war film, but a meditation on the relationship of man
to nature (Whalen 164). Not only is The Thin Red Line an adaptation of the 1962 James
Jones novel of the same title, it is a re-imagining of a significant chronicle of American
history and a testament to the power of film. Constructed as a series of vignettes
portraying the trials and tribulations of a regiment of American soldiers during World
War II, The Thin Red Line is a visual and harmonious account of each mans individual
experience and views. The film, with minimal dialogue and intermittent narration, offers
a sense of solitude with a plethora of leeway for audience interpretation.
Theme: Existentialism
Existentialism is a twentieth century philosophical movement which the MerriamWebster Dictionary defines as an analysis of individual existence in an unfathomable
universe and the plight of the individual who must assume ultimate responsibility for acts
of free will without any certain knowledge of what is right or wrong. I was first
introduced to the philosophical concept through Jean-Paul Sartres Nausea and Fyodor
Dostoevskys Notes from Underground. Both are stories of a lone man dealing with the
weight of his own existence. Nausea (La Nause) is the story of a man who searches to

11

find meaning in all the things that had fulfilled his life up to that point. He muses, I
would like to see the truth clearly before it is too late (Sartre 8). Nausea brought to the
surface an awareness of the indifference of the world and its effect on me as an
individual. One remarkable detail of this book that struck a chord within me was the fact
that Nausea was Sartres first novel. This information captivated me and was motivation
to always try for greatness in my first attempt at directing a dramatic narrative film.
Professor Randolph Feezell of Creighton University expresses an opinion about Nausea
with which I concur. Feezell states, Because the human being is free, existence is a
perpetual attempt to constitute for oneself a self-identity. Much of Sartres writing and
philosophy deals with human nature in the search for something greater (22). In relation
to this, I strive to persistently improve my work and self-worth.
Subsequently to reading Nausea, I was moved by two of Sartres other works,
Being and Nothingness and No Exit. The latter, a play in the same vein as Sartres novels,
opened me up to the possibilities of translating these beliefs into film. According to
Sartre, You are your life, and nothing else (522). Loeb makes a valid point in his
analysis of No Exit when he states What I do with my time on this earth is what defines
me. Man is blessed with the freedom of choice, which ultimately comes with a great
responsibility (287). This insightful idea serves as an axiom to nearly all of my artistic
endeavors.
The readings of Sartre introduced me to further pieces of literature associated with
existentialism. The most influential of all was Albert Camus The Stranger. This is the
story of Meursault, a man in 1930s France, who after indifferently attending his own
mothers funeral kills a man in self defense. Meursault is then sentenced to death where

12

he spends his time in prison reflecting on the meaninglessness of his life. The protagonist
in my story mirrors the character of Meursault, using his solace amongst the elephants to
reflect on his actions, much like Meursault in prison: And I felt ready to live it all again
too. As if that blind rage had washed me clean, ride me of hope; for the first time, in that
night alive with signs and stars, I opened myself to the gentle indifference of the world.
(Camus 122).
From a young age, I have always had an interest in one day portraying this story
on film. In some ways, my project is a modern day reimaging of the story, serving as a
hypothetical response to what would have happened if Meursault had run away from his
crime rather than been taken prisoner.

Figure 4. Actor, Quinn Buterfield Preparing for his Night Bazaar Timelapse.

13

CHAPTER 4
Production
Production on the film began in December 2013. The crew consisted of Ya Gao,
Heather Fipps, Quinn Butterfield, and me. By way of Los Angeles, we flew to Thailand
and spent four days in the mountains north of Chiang Mai at the Thai Elephant Home.
During this time, we had several elephants at our disposal, each with its own mahout, or
handler. Without the ability to properly construct scenes, we filmed each day as if we
were exclusively shooting a documentary on the day-to-day operations of the elephant
home. More specifically, we focused our efforts on the actor we brought along from Los
Angeles, Quinn Butterfield. Quinn participated as an actual volunteer at the elephant
home, training and learning the ways of a mahout. Throughout the four days, we
documented Quinns every action including waking up at the crack of dawn to feed and
clean up after the elephants, riding them through trails, bathing them in the river, working
in the fields chopping banana trees and sugarcane, and most importantly, learning the
commands necessary for a mahout to communicate with his elephant. Henry Christman
describes the role of the Mahout as: You are enlightenment, and civilization. You are
idealism, and justice. You are the inner light. You are the Mahout. (108).

14

 Nov
2013
Sun
1

8
Depart
DMK
Arrive
CNX

Mon

~ December 2013 ~
Tue
Wed
Thu
4
5

9
Chiang Mai
Pre-Prod
Day

10
Elephant
Home
Day 1

11
Elephant
Home
Day 2

Fri
6
Depart
LAX

Jan 2014
Sat
7
Arrive
BKK

12
Elephant
Home
Day 3

13
Elephant
Home
Day 4

14
Chiang Mai
Day 1

15
16
17
18
Chiang Mai Chiang Mai Chiang Mai Off Day
Day 2
Day 3
Day 4

19
Chiang Mai
B-Roll
Day 1

20
Chiang Mai
B-Roll
Day 2

21
Sukhothai
Kingdom
Day 1

22
Sukhothai
Kingdom
Day 2

23
Phuket
Day 1

24
Phuket
Day 2

25
Phi Phi
Day 1

26
Phi Phi
Day 2

27
Phi Phi
Day 3

28
Krabi
Day 1

29
Krabi
Day 2

30
Depart
KBV
Arrive
BKK

31
Depart
BKK
Arrive
LAX

Notes:

Figure 5. Thailand Production Calendar, December 2013.

The biggest challenge we faced was keeping up with the reality of the situation.
There was no stopping the elephants and setting up scenes. Everything was shot in the
style of reality television. Heather Fipps and I spent long hours the entire four days with
handheld camera rigs, maneuvering around the massive creatures up mountain trails and
through rivers.
15

Figure 6. Heather Shooting POV Shots with Head-Mounted Go Pro Camera.

After wrapping up at the elephant home, we then relocated south to the small,
river city of Chiang Mai. Chiang Mai is best known for its bustling nighttime activities,
including Muay Thai boxing, a red light district, massage parlors, fish markets, floating
markets, and most notably, the renowned Night Bazaar. The crew spent five days in
Chiang Mai, attempting to shoot scripted scenes with what little resources we had. The

16

most accommodating aspect of filming a guerilla style film in a city like Chiang Mai was
the opportunity to shoot whatever and wherever we wanted with no interruption or
permits. For example, we spent an entire afternoon constructing and filming an intense
motorcycle chase scene through the alleyways and streets of the city. Unlike anything
that could be achieved in the United States, we rented two motorcycles and a follow car,
shooting everything from car-to-car, bike-to-bike and even using a helmet cam, all on a
budget of under $60 USD.
Other scenes filmed during our stay in Chiang Mai were of Buddhist temples, the
Night Bazaar, a professional Muay Thai boxing match, and the red light district. Upon
completion of the scenes in Chiang Mai, Heather Fipps and Quinn Butterfield returned to
Los Angeles, while Ya Gao and I spent the next seven days shooting B-Roll coverage of
other parts of Thailand. To document further aspects of Thai culture, we filmed Buddhist
temples in the ancient city of Sukhothai, modern life in the lively Bangkok, and beach
life in the tropical cities of Ko Phi Phi and Krabi.
After nearly three weeks in Asia, we returned to California for several pickup
shots. These scenes included recreating the protagonists Thai hotel room at the famous
Figueroa Hotel in downtown Los Angeles, and an intimate flashback of the protagonist in
bed with his former lover.

17

Figure 7. Shooting a Sunset Timelapse of an Ancient Buddha Statue in Sukhothai.

18

CHAPTER 5
Evaluation
Looking back at the original proposal, the project changed drastically for the
better. What began as a short documentary, ended up evolving into three separate films.
Ya Gao and I were still able to create the documentary portion of the film, resulting in an
eight minute short opus entitled Thai Elephant Home. This piece examines the inner
working of the elephant home in Chiang Mai and takes a brief look at the rich history of
the Asian elephant in Thai culture. It is currently playing in multiple film festivals to very
positive feedback and unpredicted success. The second film is Ya Gaos thesis film,
which is currently in the post-production stage. And finally, the much-altered result of
my original proposal is the short film, Shooting an Elephant. Initially written as a
documentary, this twelve-minute piece of fiction includes elements of documentary in the
style it was shot, while still telling a fictional story.
The editing process for Shooting an Elephant was lengthy and unstructured.
Rather than only dealing with specific scenes to organize and edit, I found myself with
nearly 100 hours of footage of the Thai Elephant Home. The scripted scenes took around
a month to watch and edit. The documentary footage however, took several months to
watch and another several months to edit down the footage that made the most sense with
the story. The narration came along after assembling a 15-minute cut of my favorite
footage. I spent a few weeks watching the assembly cut and gradually wrote the narration
based on what the film made me feel, as well as putting myself into the characters shoes.
Once the narration was written, I cut down the film to around 12 minutes to fit the
voiceover.

19

The next step in the process was bringing in a composer. Using Craigslist, I found
a Florida based musician named Mike Marino, whose previous work was dark and
unusual. This intrigued me and so I brought him onto the project. Communicating only
via email, Mikes interpretation of my film was uncannily clearer than my own vision. He
submitted each scenes composition within two weeks, and I loved every note I heard.
The final step of the post process was sound design, which came in the form of
Sound Designer Justin Van Hout, who I also found via Craigslist. Justin was able to clean
up the ambience and atmosphere of the Thai locations, sharpen the narration recorded in
Los Angeles, and do a final mix of everything along with the score. His work was a
valuable asset to the final product and I definitely see myself working with Justin in the
future.

20

Figure 8. Erik Shooting Actor Quinn Butterfield from Atop an Elephant.

21

CHAPTER 6
Conclusion
Viewing the final cut of Shooting an Elephant made me realize two things. The
first is how far filmmaking technology has come in modern times. It is astonishing that I
was able to travel to another continent, shoot a quality looking film, in high definition,
with post sound, mixing, and color correct, all for not much more than the cost of travel.
The final product I have, compared to the low budget spent on such an ambitious
undertaking speaks wonders on the state and accessibility of filmmaking in the twentyfirst century. Just seven years ago, when I initially conceived of the concept, this would
have been impossible with the small budget I had to work with.
The second and perhaps most eye opening, realization that I had while making this
film was reassessing my place as a filmmaker. I am quite confident about the technical
aspects of filmmaking. I can light a scene, pick a lens, run a camera, and even negotiate a
deal. However, what I do not consider myself is an auteur5. My background and interest
lies primarily in comedy. Since beginning the MFA program, I have shot and directed
over twenty-five comedy shorts, each one significantly better than the last. A writer
hands me a funny script, and I will interpret the laughter on screen the best I can.
Shooting an Elephant was my first attempt at something heavy and dramatic, and most
likely my last. Although I have had positive feedback in the early stages of this film, I
feel that I have missed the mark in having my audience identify with my character.
Considering this a lesson learned, I hope that this film is enough to satisfy the
requirements of achieving my MFA, so that I can move forward in my hopes and dreams
of maintaining a career as a director. I think it's important that we all try to give

22

something to this medium, instead of just thinking about what is the most efficient way of
telling a story or making an audience stay in a cinema (Lars Von Trier 157).

23

NOTES
1. Mahout: Derived from Hindi, the term refers to a keeper and rider of an elephant.
2. Existentialism is a nineteenth and twentieth century philosophy which stresses the
importance of the individual in a seemingly meaningless or absurd world.
3. Burma, now known as Myanmar
4. Ecotourism is a form of environmental friendly tourism to moderately undisturbed
natural locations. Typically the purpose of ecotourism is to educate and provide funds to
ecological conservation.
5. Auteur: French for author refers to a filmmaker who is regarded as having complete
artistic control and influence over a film.

24

WORKS CITED
Bradshaw, G.A. Elephants on the Edge. Yale University 2009. Print.
Camus, Albert. The Stranger. New York, NY Vintage International 1988. Print.
Christman, Henry M. Mahout. Wheaton, IL Theosophical 1982. Print.
Days of Heaven. Dir. Terrence Malick. Perf. Richard Gere, Brooke Adams, Sam Shepard.
Paramount 1999. DVD.
Dostoevsky, Fyodor. Notes from Underground. New York, NY Bantam 1974. Print.
Feezell, Randolph. Sartres Nausea. Explicator (1980): 22-23. MLA International.
Bibliography. Web. 24 Oct. 2014.
Loeb, Ernst. Sartres No Exit and Brechts The Good Woman of Setzuan: A
Comparison. Modern Language Quarterly (1961): 283-91. Print.
March of the Penguins. Dir. Luc Jacuet. Perf. Morgan Freeman. Warner Home Video
2005. DVD.
Merriam-Webster. Encyclopedia Britannica. 2014. Web. 30 June 2014.
Orwell, George. Shooting an Elephant. New York, NY Harcourt 1950. Print.
Sartre, Jean-Paul. Nausea. New York, NY New Directions 1975. Print.
Schickel, Richard. Conversations with Scorsese. New York, NY Knopf 2011. Print.
Thai Elephant Conservation Center. Forest Industry Organization 2013. Web. 29 June
2014.
The Thin Red Line. Dir. Terrence Malick. Perf. Sean Penn, Adrien Brody, George
Clooney, Nick Nolte. Twentieth Century Fox 2002. DVD.
The Tree of Life. Dir. Terrence Malik. Perf. Brad Pitt, Sean Penn, Jessica Chastain.
Twentieth Century Fox 2011. DVD.

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Von Trier, Lars. Lars Von Trier Interviews. U of Mississippi 2003. Print.
Whalen, Tom. The Thin Red Line. Literature Film Quarterly 27.3: 162-68.
Communication and Mass Media Complete. Web. 3 Dec. 2011.

26

APPENDIX
Script

SHOOTING AN ELEPHANT
Written by
Erik Boccio

531-A N. Hollywood Way #284

Burbank, CA 91505
347-249-0566

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The SOUND of feet running and heavy breathing.

EXT. STREET, LOS ANGELES, CA NIGHT
A tall, handsome man in his late twenties is running in a panic. He stops to take a breath,
and looks back at the empty street behind him. Only pausing for a second, he runs off
into the night.
CUT TO:
QUOTE
When a man turns tyrant, it is his own freedom that he destroys. He wears a mask, and
his face grows to fit it.
-George Orwell, 1936
CUT TO:
EXT. ROAD, CHIANG MAI PROVINCE, THAILAND DAY
The man is jogging up a winding dirt road, surrounded by green mountains. He stops to
take a breath. On a hillside above him are dozens of elephants feeding on vegetation.
CUT TO:
EXT. THAI ELEPHANT HOME DAY
The man is training with a local Mahout, or elephant handler. Standing beside the
elephant, it is clear the mans heart is drawn to the majestic creature.
His Mahout training begins.
CUT TO:
INT. BUDDHIST TEMPLE DAY
The man enters the temple, taking notice of the Buddhist artifacts and nearby monks. He
kneels before Buddha. His mind is at ease.
CUT TO:
EXT. NIGHT BAZAAR NIGHT

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The man strolls through the crowded marketplace, admiring the local handicrafts and
delicacies. As he reaches the end of the bazaar, he notices a crowd in front of an ally
across the street. There are flashing lights, and music and bar sounds are heard.
CUT TO:
EXT. THAI ELEPHANT HOME - DAY
Mahout training continues. The man begins to form a bond with the elephant.
CUT TO:
QUOTE
He neither stirred nor fell, but every line of his body had altered.
INT. HOTEL ROOM NIGHT
The man stirs in his bed. Unsettled, he gets dressed and heads out.
CUT TO:
EXT. STREET NIGHT
The man enters the ally from the previous night and discovers a red light district, lined
with bars and skimpily dressed Thai women. As he makes his way to the end of the strip,
he notices a boxing ring surrounded by a roaring and unruly crowd.
The SOUND of boxing is heard as the crowd cheers on. Feet shuffle across the ring. Two
kickboxers wail away on each other as the SOUND of fighting grows. Punches, kicks,
elbows...
The man stares on in a daze as if having an out of body experience. The violence triggers
something from his past.
CUT TO:
EXT. DARK ALLY NIGHT
The man throws up on a wall.
CUT TO:
EXT. THAI ELEPHANT HOME DAY

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Advanced Mahout training. The man is noticeably disconnected from his daily tasks and
the elephant.
CUT TO:
EXT. STREET DAY
The man is riding a motorbike through the busy Chiang Mai streets. Over his shoulder, he
notices a suspicious rider tailing him. As he speeds up, the rider does the same. In an
effort to lose the man, he turns down a back ally and increases his speed. A chase ensues.
Speeding past pedestrians and around corners, the intensity of the chase erupts as the man
begins to panic. He turns down a dead end and looks back expecting the worst, but there
is only the sound of silence. As the man carefully rolls out around the corner, the
aggressor is nowhere to be found.
CUT TO:
EXT. BAR NIGHT
The man drinks alone.
CUT TO:
EXT. NIGHT BAZAAR NIGHT
Intoxicated, the man walks through the market, taking into account all of the foreign
faces in this foreign land. As he reaches the strip of bars from the previous night, he is
stopped in his tracks by a young, Thai woman with too much makeup and a very short
red dress. She seems like the solution he is looking for.
CUT TO:
INT. HOTEL ROOM NIGHT
The man and the woman in red enter the room. Time passes. It is uncertain what has
happened between them. He notices her red heels on the floor.
CROSSFADE:
INT. BEDROOM DAY
A soft morning light shines through the sheer white curtains. A couple lay half-naked
under the sheets. With a clear distance between them, they are on their sides facing each
other. There is an air of sadness about the room.

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WOMAN
Do you love me?
The man stares back at her with a blank expression
WOMAN (CONTD)
Do you even care?
The man is lost in his own thoughts
WOMAN (CONTD)
Sometimes I stare into your soul and I see NOTHING. As if none of those human
emotions that control our hearts are within your reach. This emptiness inside you is like
an abyss...and I find myself completely lost in it.
MAN
Nothing is ever as good as we imagine it to be.
WOMAN
Im looking at your face and all I see is a monster staring back at me.
She throws the sheet aside and hastily exits the room, walking past a pair of white heels.
The man stares directly at the shoes.
CROSSFADE:
INT. HOTEL ROOM NIGHT
As the woman in red exits the room, he notices her high heels as the door closes behind
her. An emotional trigger is set off as the man flips a table, knocking over anything in his
path. He falls to his knees and lies down with the side of his face to the floor.
FADE OUT:
QUOTE
I waited a long time for him to die, but his breathing did not weaken.
CUT TO:

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INT. HOTEL ROOM DAY

The man is taking a shower. He steps out and examines his face in the mirror. Voices are
heard from the street below. He moves over to the window and notices a white man in a
suit questioning a local.
CUT TO:
INT. COFFEE SHOP DAY
As the man is pouring a packet of Sweet N Low into his coffee, an attractive young
woman walks up to grab a napkin.
WOMAN
American?
THE MAN
Am I that obvious?
WOMAN
We can usually smell our own.
The man smirks and continues on as if to flirt with her.
THE MAN
So what brings you to this side of the world?
The woman flashes the back of her hand to expose an impressive diamond ring.
WOMAN
Newlywed in paradise.
She laughs as if very content with herself.
WOMAN (CONTD)
How about yourself?
THE MAN
(Sarcastically) Oh me, Im running from my past.

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The two awkwardly smile at each other for a beat.

WOMAN
Just remember, you can only go so far before youre right back where you started.
She nods and walks away. His eyes follow her out the door.
CUT TO:
EXT. THAI ELEPHANT HOME DAY
The man says goodbye to his elephant.
CUT TO:
INT. HOTEL ROOM NIGHT
The man, pensive, sits at the edge of his bed. There is a knock at the door.
THE MAN
.....Come in!
The white man in the suit from earlier enters the room.
THE MAN (CONTD)
How did you find me?
THE SUIT
It doesnt matter. Its time to come home.
CUT TO:
THE END

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