Filming

Wednesday 20th February:
I spent the day filming at two different locations; Elvaston Castle and Toton Sidings.
My main actor Ed came with me as did two friends who helped carry the equipment.

I changed the plot of my storyboard slightly as the weather had been bad for most of the week and the location was very muddy and wet making it difficult for the running scenes. Due to this I had to make the plot more of a mystery than a chase as I had limited time with the camera. We filmed in the morning at Elvaston Castle, shooting a range of shots as the character walked around the location, the idea behind this being that they were heading to a certain meeting place with someone as will be revealed later in the prequel. I kept the same shots that I had planned to use in my original storyboard so that I still had that variety and could make the most of the setting around my location. My two friends also had a small part as they walked past the camera so that it appeared there were people walking around the location we were on due to the fact we had chosen to go early in the morning hoping that it would be quieter and easier to film meaning there were less people around.

In the afternoon I filmed the rest of my shots involving Ed near and on Toton Sidings. I filmed what will be the main part to the sequence as he is given the prop of the envelope that will hopefully create a narrative enigma. We spent less time here as that was the main focus of the filming. I filmed him running as well as if in a hurry to get away from where he could be seen and emphasized this point with the way I filmed some shots to appear as though he was being followed and watched so as to keep in with the theme of it being a chase.


Saturday 23rd February:
I filmed at Toton Sidings.
This part I decided to add to my plot after deciding my filming on Wednesday needed another character to add a threat or more tension to the prequel.
One of the actors I had picked to be one of the antaganists in my original storyline came to act as the deliverer of the envelope and I filmed part of their journey to my main character so that I could add a different viewpoint and more POV shots for my main character.

Camera Techniques

• I will use pre-role and post-role when filming (starting and ending filming 5 seconds before and after action has commenced/ finished) - This is to make sure I have enough footage and do not cut out anything that may be needed or of use in my final piece
• Avoid pointing the camera at the sun - This is too avoid bad lighting blinding out the footage (not being able to see what you are filming)
• When panning I will start by filming out of the shot of action and finishing out of it as well so as not to miss any footage and avoid knocking the camera and ruining the shot at the end of the sequence
• Use the rule of thirds - Avoid the centre piece and use the lines for horizontal or vertical shots (horizons, people etc.)
• White Balance - Take a picture of a white object (white should fill the screen), switch to video mode and press the DISP button twice until the big list of icons is displayed, press the Q/Printer button to highlight the top white balance icon, at the bottom of the screen see the first of the white balance options, turn the scroll wheel until it says custom and press set, then press the menu button and navigate to 4th icon, select 'custom white balance' (it should show you the still image of the white object you photographed earlier) press the set button and 'use WB data from this image for Custom WB', select OK and set button, leave menu mode and into Live View and then confirm that the white balance is now correct.
• Depth of Field - Focusing on just one area of shot to highlight a certain event or factor
• Record ambient sound in all locations before filming so as to add it in should it be needed if the filming is interrupted by a different source of sound

Planning

Risk Assessment

·         Since my filming is outside I will take umbrella’s and warm clothing as well as keeping all equipment covered

·         I shall make sure any running or jumping stunts are practised and easy to do so as to avoid injury

·         Since filming near the edge of a slight drop I will make sure my actor is not near enough to the edge to cause any issues if he slipped

Chosen Actors

·         I chose Ed as I have seen him in theatre productions and he acts regularly at a good level in front of many people, he also suited the age (15 - teenager) and gender as preferred by my audience in my questionnaire results.

·         I chose two other actors to act as the chasing antagonists as they are both runners.Details as to their gender and age were not needed to be focused on as their faces will not be seen however they too are both teenagers.

Chosen Costume

·         A casual outfit to suit the age image of my actor so a hoodie and jeans will suffice, by avoiding any extravagant accessories the character will seem more down to earth and this stops any unwanted typical teenage stereotypes being attached to the character.

·         For the two faceless actors, the only shot will be of their feet so they will need to wear dark trackies and trainers so as the audience can differentiate them from the main character.

Locations

·         I have chosen a sheltered area of a hill near Toton sidings to use as my first establishing location as it offers a good landscape to create a setting that emphasizes the distance the character has to travel, it also is a large open space, giving the opportunity for a wide range of shots as well as insinuating that at that moment in the time the character feels they are safe.

·         My second location is a footpath in the same area, I chose this location as it is a secluded closed path and the bushes surrounding it encourages the idea of hidden threats as well as allowing for ease of focusing on the character without many distractions. The closed off area also indicates there are not many exits, encouraging a tension that is signified by the chase that is taking place.

·         The third location is a clearing at Elveston Castle, I chose this because of the scenery around it offering a contrast to the last location as it gives the feel that the character has been travelling a long way and through a range of places, the large empty area around the character indicates the fact they’re alone and without help.

These locations add questions as to how the character has ended up in the places they are, why they are running and what the reason behind their secrecy is, setting up a narrative enigma. The locations also coincide with the results of my questionnaire being that woodlands would be the most popular location. The first two locations are also close to my home so as for easy access and offer a chance for a reshoot and the final one is also not too far away.

Props

·         The only props I need are the two sheets of paper the main character will hold, the purpose of these being that they insinuate the writing on them is a part of the plot and means something to the character, at the end they will also be used so as to edit the titles onto.

Filming Schedule

Block 1:

·         I will film frames 1, 2, 16, 17, 18 and 19 throughout the whole day.

·         My actor will be needed for the majority of this block, however not for the final two frames.

·         The only prop needed will be the two pieces of paper, one with writing on.

·         The costume will need to stay the same as throughout.

             Block 2:

·         I will film frames 7, 8, 9, 10 and 11 in the morning of this day so as to avoid other people who may visit the location.

·         My actor will be needed for all but 3 of the frames in this shoot.

·         No props will be required and the costume will stay the same.

Block 3:

·         Frames 3, 4, 5 and 6 will be filmed late afternoon in the final shoot, due to the more threatening feeling that the dark location will provide, whilst still having enough light to film.

·         All 3 of my actors will be needed for these frames.

·         No props will be needed but the costumes described will be worn.

Storyboard

 Frames 1-8 (horizontally) (above)
Frames 9 - 16 (horizontally) (above)

Frames 17 - 19 (horizontally) (above)

The aim of my storyboard is to create a narrative enigma with a multitude of questions, whilst not much is explained in the prequel the main feature is to set up the main theme of what would be the plot, a lone character on the run from unknown antagonists (the reason the audience does not see them is so they can relate with the fact the character does not know who they are either) the age of the character being a teenager helps to gain sympathy as well as the fact the target audience are similar to his age helps them to relate with him. The prequel indicates that the character is unsure over the past events, the flashbacks his method of working out what has happened, linking in with the letter he has received, this point of view that the audience sees the events from is the same as the characters as he is thinking about them, this helps the audience to feel part of the plot whilst still keeping a sense of mystery and intrigue into the characters situation.

Thriller Research - SE7EN

As part of my research for my upcoming thriller prequel I watched SE7EN (Directed by David Fincher, 1995)

There were a mixture of methods used however some of the most unique ones were of:

• Close ups on certain cut outs (words) or pictures to develop the audiences ideas on how the characters mind worked and what it was he had done
• Close ups focusing on actions or events taking place rather than character adds a sinister feel, encouraging the factor of fear of when they finally see him 

•  The quick cuts between different events, give the intentional impression of them being edited there as a mistake, the whole sequence appearing to be mismatched, tension being added through the lack of control and sudden unexpected changes
• The overlapping of clips adds a chaotic and rushed feel to the sequence as well as insinuating a lack of mental stability for the character as most of the action is shot from his point of view, this makes him an even bigger danger and fear factor

•  The use of a steady drum beat gives the sequence a sense of continuity, helping the viewer to understand that it is still the same person due to the fact they cannot see his face and it also ends with a louder final beat as the directors name is shown just so as to indicate the sequence has ended
• The sound effects added in, like the screaming add tension due to the high pitch and fear the produce, the fact it sounds like a child encourages the fact this character is dangerous, the effects also coinciding with the pictures of the children, this plays on the fears of the majority of people as it insinuates this character most probably has harmed and killed children in the past

• The majority of props used appear to be sharp objects, adding another dangerous factor to the character the viewer will already be fearing
•   The positioning of the camera from his point of view also adds tension due to the fact the viewer is seeing the events in the way in which he does, the fact you don't see his face but feel so close to him is daunting as a threatening image is created around him

• The titles appear to interrupt the action taking place as once again the theme of the sequence being mismatched and chaotic but with a sense of being purposely organised in this way seems to match the personality developed on for the main character as the feeling of continuity is carried on.

 Titles:
New Line Cinema
An Arnold Kopolson Production
A Film By David Fincher

• Brad Pitt
• Moran Freeman
• Gwyneth Paltrow
• Richard Roundtree
• R.Lee Ermey
• John C. McGinley
• Julie Araskog
• Mark Boone Junior
• John Cassini
• Reginald E.Cathey
• Peter Crombie
• Hawthorne James
• Michael Massee
• Leland Orser
• Richard Partnow
• Richard Schiff
• Pamala Tyson

• Casting by Billy Hopkins, Suzanne Smith, Kerry Borden
• Music by Howard Shore
• Costumes Designed by Michael Kaplan
• Edited by Richard Francis-Bruce
• Production Designed by Arthur Max
• Director of Photography - Darius Khandji
• Co-Producers - Stephen Brown, Nana Greenwald, Sanford Panitch
• Co-Executive Producers - Lynn Harris, Richard Saperstein
•  Executive Producers - Gianni Munari, Dan Kalsrud, Anne Kopelson
• Written by Andrew Kevin Walker
• Produced by Arnold Kopelson, Phyllis Carlyle
• Directed by David Fincher

Brainstorming Ideas for Thriller Prequel

My final idea was based around the results of my questionnaire and I went with the above ideas mentioned (woodlands, chase, teenager and male) Along with my other thriller research, I based certain ideas around what I'd also analysed, for example I adapted the concept of only showing the face of the main character you want the audience to empathise with from my Casino Royale research, as I go through the planning and filming of my prequel I will incorporate other ideas I have adapted from ideas I gained from my research and document them.

Thriller Research Questionnaire

 QUESTIONNAIRE

I asked 12 people to answer my questionnaire as to use for research when planning my own thriller prequel and these are the results:

Are you male or female?

Male: III (3)

Female: IIIIIIIII (9)

How old are you?

10 – 16: IIIIIIII (8)

17 – 23: IIII (4)

24 – 30:

31+:

What main feature of a thriller would you find most interesting?

Murder: IIII (4)

Chase: IIIIII (6)

Supernatural: II (2)

Other (Please State):

What location would you most expect a thriller to be set?

Old manor house: IIII (4)

Woodlands: IIIII (5)

Fields:

Urban Setting (E.g. town): III (3)

What gender would you expect the main character to be in a thriller? (Based on your previous answer to the feature question)

Male: IIIIIIIIII (10)

Female: II (2)

What age would you expect the main character to be in a thriller? (Follow on from the last question)

Young child:

Teenager:  IIIIIII (7)

Young adult: IIIII (5)

Whilst there is a difference in the number of females over males their results were similar and although I only managed to question two age representations, these results will be adequate as my target audience is going to be teenagers and young adults.  

Due to the fact the idea of a ‘chase’ was the overall most popular I will plan my prequel around this. There was a range of opinions over which location would be better so I may try and incorporate more than one into my prequel so as to use the results beneficially.

The factor of a male being the most expected main character in the thriller had the largest majority as well as teenager being the most expected age range so I shall try and plan my prequel around those features.

Thriller Research - Casino Royale

Casino Royale (Directed by Martin Campbell, 2006)

 

 

There is a small clip before the main opening sequence with titles which is of Bond shooting another man, a typical Bond moment with the blood running down the screen to start the film off with some continuity.

Camera:

• Majority of shots being close ups and long shots of Daniel Craig offer a contrast
• Shot onto a green screen and then edited in to highlight the importance of his character and emphasize he is ‘James Bond’

Editing:

• Card effects throughout to highlight Bond’s poker/ gambling attitudes – Links in with title, Casino Royale
• Gunshots edited into suits, keeps a strong theme of gambling as well as showing the film contains violence and drama
• Gun aim merges into gambling table
• People injured by suits (diamonds in chest indicates knife wound) Theoretical dangers of gambling?
• Faceless casualties = No audience emotion for people dying, outline of Bond to focus on main character
• Cash flying around to signify wealth/ loss of money over gambling?
• Uses target aim to hover over queen’s head, merging it into main character’s face, only the characters the director wants you to empathize with are shown
• Fight Scenes – When killed people dissolve into card suits, avoids giving the impression the violence in film is too extreme
• The backdrop has a card suit or billiards table theme – Emphasizing the main focus of the film and what the main action will be centred around

All of these features create tension as they foreshadow the future death that comes from the issues of losing other people’s money and gambling. By avoiding giving the antagonists of Bond faces when they die they avoid the audience’s emotions being attached to anyone else but him, the fact that when the people die they then merge into a suit type encourages the fact the film isn’t a horror, centred around death but more action packed and fast paced.
 

Sound:

• Music instantly starts as opening sequence commences – electric guitar and drums emphasizing the drama and tension as the tempo is quick and volume loud, linking in with the action of the previous fight scene.
• The guitar and drums then lower in volume and to a steady pace as the scene continues, encouraging the audience to take notice of the cleverly edited sequence.
• ‘You Know My Name’ opening song  – Reference to the famous Bond saying ‘The name’s Bond, James Bond’
• Certain lyrics like ‘The odds will betray you’ and ‘You can't deny the prize’ relate to the majority of gambling games – Another link to the main theme of the film
• Consistent drum beat adds tension to the fight scenes – keeps the sequence fast paced
• Small crescendos from the electric guitar, breaks in the rhythm to be filled with abrupt jump strumming, emphasizing the action taking place

Mise-en-scene:

• Guns, knives, weapons – Encourage factor of action and violence in the film, stereo-typically appealing to the audience of men.

The font is Sans Serif, the transitions for the font are a dissolve in and out, this allows for the titles to be noticed without drawing too much attention from the action and effects taking place. The font is white, helping it to stand out against the vibrant mixture of colour backdrops, red being most commonly used, a colour well associated with danger.

Titles: (In the order of which they were shown)

(Casino Royale)

Albert R.Brocolli’s EON Productions LTD.
Ian Fleming’s James Bond 007
Starring….
Daniel Craig
Eva Green
Mads Mikkelsen
Giancarlo Gianini
Caterina Murino
Simon Abkarin
Isaach De Bankole
Jesper Christensen
Ivana Milicevic
Tobias Menzies
Claudio Santamaria
Free running stunts by Sebastien Foucan
Jeffrey Wright
Judi Dench
Associate Producer – Andrew Noakes
Production Executive – David Pope
Camera Operator – Roger Pearce
Second Unit Assistant Director – Terry Madden
Script Supervisor – Jean Bourne
Publicity and Marketing – Anne Bennett
Promotions - Keith Snelgrove
Assistant Producer – David G.Wilson                
Sound Recordist – Chris Munro
Electrical Supervisor – Eddie Knight
Stills Photogrpaher – Jay Maidment
Makeup Supervisor – Paul Engelen
Hairdressing Supervisor – Christine Blundell
Wardrobe Supervisor – Dan Grace
Unit Production Manager – Jeremy Johns
Second Unit Production Manager – Terry Bamber
First Assistant Director – Bruce Moriarty
Casting – Debbie Williams
Stunt Co-ordinator – Gary Powell
Special Effects and Miniature Effects Supervisor – Chris Corbould
Main Title Designed by Daniel Kleinman
Second Unit Director – Alexander Witt
Costume Designer – Lindy Hemming
Editor – Stuart Baird A.C.E
Director of Photography – Phil Meheux B.S.C
Production Designer – Peter Lamont
Music by David Arnold
‘You Know My Name’ performed by Chris Cornell
Written and Produced by Chris Cornell and David Arnold
Executive Producers – Anthony Waye and Callum McDougall
Based on the novel by Ian Fleming
Screenplay by Neal Purvis, Robert Wade and Paul Haggis
Produced by Michael G.Wilson and Barbara Broccoli
Directed by Martin Campbell

 

 

 

 

Genre - Thriller

 Below is a description of what the genre of thriller includes from the website thescriptlab, I used the information from this site as a reference as to what my thriller could include. Whilst the author of this is unknown and it is posted by a user of the web it is interesting to see what other people expect to be incorporated into a thriller.

"Thriller Film is a genre that revolves around anticipation and suspense. The aim for Thrillers is to keep the audience alert and on the edge of their seats. The protagonist in these films is set against a problem – an escape, a mission, or a mystery. No matter what sub-genre a Thriller film falls into, it will emphasize the danger that the protagonist faces. The tension with the main problem is built on throughout the film and leads to a highly stressful climax."

http://thescriptlab.com/screenplay/genre/thriller

Harry Potter and The Prisoner of Azkaban - Thriller Research

Harry Potter and The Prisoner of Azkaban (Directed by Alfonso Cuarón, 2004)

 

 

The very first shot of the opening sequence is of a dark night, with just a single light shining through, the music (as described below) giving a feel of mystery as the low notes of the piano are slow and the sequence purposely builds up the reveal towards where the source of this light comes from. The Warner Brothers logo is revealed before the window of the bedroom is eliminated prolonging the secret. 

During the opening sequence one of the main focuses is of that of the book Harry is studying, the importance of this is emphasized through the close up of the props, these being the book and wand, thus gaining the audience’s attention as well as creating tension due to the apparent secrecy in which he is reading this book, highlighted by the fact the lights are out and he is under his sheet. The close up also allows for the word ‘incantations’ to be read, the word creates a sense of mystery and sets a number of questions into place. A two shot is also used to create tension as when the character’s uncle storms into the room and bangs the door, Harry pretends to be asleep, purposely avoiding a conflict, this creates the possibility of his uncle being an antagonist and due to the fact the music becomes quieter as the uncle enters the room it helps the audience to personalize themselves from the viewpoint of Harry as the purpose of this adjustment in volume is to link the audience in with Harry’s point of view as well as highlight the fact Harry is the character to empathize with. 

Throughout the opening sequence the Harry Potter premotif is used, this being the distinctively recognisable and associated with the films ‘Hedwig’s theme.’ The motif starts with a lone piano playing the tune with a slow tempo which gradually gains pace as more instruments are added, mainly after Harry’s uncle has left giving a sense of triumph, this gives an opinion to the character of his uncle as it insinuates that he is an intimidating figure to the main character who is portrayed by a teenage boy, offering a large contrast between build and age, a factor that makes Harry seem at a large disadvantage as well as under threat.  The fact he is using his wand as emphasized through the sound effects adds to the feeling towards his uncle and the sympathy for Harry as it seems that he is worried about his uncle catching him, this suggests that his magic is something secretive and possibly dangerous and the fact that a man like his uncle seems threatened by it only adds to the mystery and dark background surrounding its origin. This is supported through the diegetic sound that is heard when his uncle walks down the corridor, adding a feel of suspense as Harry has to react quickly to avoid being caught for a second time.  All this creates tension as it underlines and alerts the audience to the fact the main aspect of the film will be focused around this character and his magic also creating a narrative enigma.

For the film title sequence the light produced from the wand zooms away from the character into the night and the film title appears as the light shines through it, the title being shown through a specialised font designed specifically for the film based around the theme of the main character’s scar being used. This is then followed by the light zooming back in towards the character insinuating he is the character the film is named after. The final transition signifying the end of the opening sequence also creates this impression, as the fade to black is centred on Harry’s head, showing him grinning as it finally all fades out. These all being editing techniques, as the fade is used as a transition and the light would have been edited in post production. 

Spiderman 2 - Thriller Research

SPIDERMAN 2 (Directed by Sam Raimi, 2004)

The opening sequence for this film relies majorly on the editing and sound to grab the audience’s attention, the main factor of the sequence being that it highlights the original format of the plot which was published in the comic book, as shown by the introduction to the company Marvel in which the title appears after the flicking through a number of comic book pages and the way in which the previous film is told through a number of drawn pictures as the titles appear (below).  

 The music dominates the opening sequence as it starts with a string section and as the tempo gains speed, percussion is added. A range of techniques are used to add tension as well as a number of small crescendo’s taking place throughout to be immediately replaced with the fast rhythm again. The build up towards each of these small crescendos also helps to develop tension as during each one a pinnacle point to the previous story is portrayed through the images, by using this effect it gives the impression that the music leading up to the final crescendo, will be an important or even frightening revelation as well, giving the audience a sense of foreboding as well as eagerness to continue watching. Different emotions are also reflected through different types of instrument, this being shown through the dominance of a brass section when the picture of where a character expressed fear or anguish and the increase in percussion and cymbals when the picture of the antagonist appeared. This helps create tension as the audience’s emotions are altered through the empowering music, allowing them to be controlled based on how the director wants them to feel about each individual scene and character pictured. 

The titles appear through a wipe transition and are wiped out in the same format, a colour scheme is used (red, black, white and blue) with colours that complement each other so as for ease of reading the names as well as matching the colours of Spiderman’s costume. Through the use of the colour red, tension is created due to the fact the colour is commonly associated with danger. The font is possibly designed specifically for the film and matches the colour scheme as well as being easy to read due to the colour white working effectively against the mixture of backdrops and this is important due to the fact the titles are quite small, however still clearly readable.  The film title is easily recognised due to the fact it is larger than the rest of the titles and illuminated as well as having a specific noticeable background of a web that links in with the plot, title and emphasizes that this text has a higher importance than any other. As for the titles organisation, they are wiped in from a multitude of directions and the same with the wipe out, the effect of the wipe indicates the possibility that it is mirroring Spiderman’s web due to the long thin lines linking across the screen, this keeps in with the films theme as well as adding interesting effects due to the way in which these webs act almost as mirrors, refracting the titles so they appear disorientated across the screen, this coincides with the way in which the opening sequence is edited as it appears slightly rushed so as to give the impression of a fast paced film as well as making sure the previous film’s plot could be done justice whilst not losing audience interest.

  

The company who own the rights, this being 'Columbia Pictures' also had a unique title presentation as did the director, whose name appears twice, guaranteeing them the recognition they have earned.

The Titles in the order of which they were presented: 

  A Marvel Enterprises/ Laura Ziskin production 
 Tobey Maguire
 Kirsten Dunst
 James Franco
 Alfred Molina
 Rosemary Harris
 J.K Simmons
 Donna Murphy
 Daniel Gillies
 Dylan Baker
 Bill Nunn
 Vanessa Ferlito 
 Aasif Mandvi

 Casting by Dianne Crittenden

 Music by Danny Elfman

·         Costume Designers; James Acheson, Gary Jones

·         Visual Effects Designed by John Dykstra, ASC

·         Film Editor; Bob Murawski

·         Production Designer; Neil Spisak

·         Director of Photography; Bill Pope, ASC

·         Co-Producer; Grant Curtis

·         Executive Producers; Stan Lee, Kevin Feige

·         Executive Producer; Joseph M.Caracciolo

·         Produced by Laura Ziskin, Avi Arad

·         Based on the Marvel Comic Book by Stan Lee and Steve Ditko

·         Screen Story by Alan Gough, Miles Millar and Michael Chabon

·         Screenplay by Alvin Sargent

·         Directed by Sam Raimi