Paul White.
PRODUCTION LOG.
BRIEF: Brief one (Film).
The opening sequence of a new thriller, including the titles, aimed at a 15 or 18 certificate audience (approximately two minutes duration).
SECTION ONE.
We began the ball rolling, by researching into target audiences . To begin with we got information from the BFI (British Board of Film Classification), on the two film certificates 15 and 18. We finally chose the certificate that would allow us to manipulate audiences in the best possible way. In the end the final decision went with the 18 certificate , It allowed us more freedom of speech and we agreed it allowed us to use more conventions that are expected in a thriller. The 18 certificate allowed us to play to a more sophisticated audience where spoon feeding them is not acceptable. They have to think for themselves. Overall, we settled for an 18 to 35 target audience; 18-35 is an age group that big blockbusters are mainly seen by. Next we turned to the target audience for help, to learn their thoughts as to what has affected them and fulfils their expectations of the thriller genre; also, particularly, what makes them feel fear , what has played on their psychological well-being. We gave out 40 questionnaires in total. A number of questions were asked that focused on the main conventions of a thriller. We analysed this research and it became extremely useful, for example, we found that in the target audience most people enjoyed the sub genre of the psychological. From this information we could model our new psychological thriller and add symbolic techniques that would surprise the audience, one possibility was to induce the target audience into a state of discomfort, through the noir lighting along with the discordant colours of the scene. This became a strong idea for us.
We thought it would be a worthwhile piece of information if we sent letters off to institutes that were in a position to provide us with relevant information ( for example, how they tackle the thriller genre or a way of making a successful thriller movie). The information that was received from Granada followed the 'High Concept Model' which is a ten point formula which film scholars use to make successful Hollywood films. With this in mind ,we could now contrast our ideas and see if the thriller film of ours follows that successful formula. That would add key connotational value for the audience, such as intertextual links that could keep the audience in a state of familiarity.
We also looked at existing real media texts for their conventions and language to help identify key stereotypes of characters. We began by looking at 'Se7en' and the 'Third man'. The key conventions were noted which included the titles, camera angles, key characters etc- the gothic lettering for instance in 'The Third Man' that connotated possible violence, and the exaggerated camera angles used in 'Se7en' to signify mental distortion and canted frames to represent a lack of balance. Once all the key language was highlighted , all the information was translated to the idea of the maintenance of narrative tension, so we could see how big blockbusters kept narrative tension. It allowed us an insight into how to keep narrative tension in our piece. This would allow us to keep the audience on the edge of their seats, during tense parts of narrative structure.
The final part of the research, consisted of a historical overview. What had been the top ten thriller movies of all time? What makes them so successful?. We researched into their storylines and the period the films were set. This would allow us guidelines into good psychological thriller and other thrillers, and allow us to model our piece around some of the greats, such as those by 'Alfred Hitchcock', and manipulate our audience the same as many of his films did.
SECTION TWO.
We began to plan the production by choosing the most popular points from ...
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The final part of the research, consisted of a historical overview. What had been the top ten thriller movies of all time? What makes them so successful?. We researched into their storylines and the period the films were set. This would allow us guidelines into good psychological thriller and other thrillers, and allow us to model our piece around some of the greats, such as those by 'Alfred Hitchcock', and manipulate our audience the same as many of his films did.
SECTION TWO.
We began to plan the production by choosing the most popular points from the research, such as the preference for 'psychological' instead of 'Horror' sub genre of the thriller, etc. We began by writing the synopsis that would give us the basic ruling idea for the thriller. With the psychological sub genre in mind, we began to brainstorm ideas that could manipulate audience feelings. Once the brainstorm was complete, we began to discuss the best way to convey them.
We next went to the storyboard ideas, we began to plan the best ways to convey shots, including camera angles, shot distances and transitions, that would help to manipulate the audience into a state of psychological fear, these were drawn and labelled including the shot distance/angle and the transition used to move the piece along. The storyboard also included dialogue and music, (note, the music and dialogue were added later, along with stage directions, once those decisions had been finalised). However, most importantly the storyboard also contained the lighting that would be crucial in the way the piece manipulates the audience. For example a film noir lighting would connotate enigma and almost a surreal setting. A screen play was written from the storyboard that incorporated music and camera shots and the main dialogue, that would speak volumes about the film to the audience.
We chose the music for the piece. From the questionnaire given to the target audience, we knew their favourite sub-genre of a thriller was 'Psychological'. We began to research music genres, looking for something that would manipulate the audience the most. In the end we opted for the gothic genre because we felt it could encourage the audience to feel sad, yet they would sit up and listen due to its heavy rhythm beats. The final piece chosen in the gothic genre was 'Kingdom is coming' by Gothic Bauhaus. The second piece of music that we opted for was a piece of comical rock, that we felt would manipulate the audience into feeling confused about the situation they are watching. We hoped they would feel uneasy and not know what to expect from the scene. Once all the above planning was decided, we felt it was a better idea to brainstorm the name last of all, so we could choose key ideas from the screenplay, storyboard and synopsis, that could help to influence our final decision. The final name was decided during the planning process. We looked throughout the planning for a name that signified a psychological thriller to the audience. We felt 'Light After Dark' connotated purity and hope, where all bad can become good, just like the character arc of the main protagonist. Once all the main planning was finished we looked at location shoots that would give the best psychological feel. The final locations shoots were decided on and before shooting began, we looked for locations that had connotations of a possible menace, but with that idea of light and purity coming through, that would convey a psychological menace to the audience and the hope of this being resolved. Shot location pictures were taken to show the key aspects of the locations. Once the shot locations were decided, a filming schedule was produced so all props, equipment and actors needed were clearly noted. Furthermore, before any filming took place a risk assessment of the locations occurred to prevent any unnecessary accidents that could occur. Furthermore, a font analysis of text took place for the main titles along with colour connotations to see what added a more psychological feel to the film.
SECTION THREE.
The filming schedule consisted over two days, but only took one due to the weather and situation.
Our first filming session began going against the chronological order of the film . With the perfect lighting status for a great morning shot we began to capture the footage we required. We encountered little problems on the first shooting session. However, in hindsight, we encountered a problem with continuity, not noticed during the shooting process but later in the editing suite. The fault occurs when the empty handed main protagonist picks up his bag, yet as the door opens moving into the next scene he has bag plus papers in his hand. Furthermore, another small setback that was encountered in the first filming session is where the main protagonist walks towards his car and the joyful old women walks by and shouts 'MORNING'. The problem, was that the car was in the wrong direction for the action to take place. We overcome this problem by noticing that the car was a distance from the house. We gave the old lady a new super objective- a charity leaflet to deliver. The second filming session incorporated the interior settings of the main protagonists house. This proved successful as, the room had great semiotic value due to the messy connotations. The room symbolized two sides to the protagonist's character, one of messiness and unruliness, that signifies a possible menace, and the white walls that connotate hope and purity The overall look of the room helped to build audience expectations of the character. However, one main problem encountered was the silhouette effect that appeared during shooting. In the first instance it didn't seem a problem, because we were going for that just-out-of-bed style of shot. However, the opening sequence consists of a dream sequence. Once the main protagonist wakes up miraculously in his bed, the impact on the audience is lost due to there being no stark contrast between the black and white and the colour. The silhouette effect blunts the impact on the audience, but there's no happy medium between the just out of bed effect and the impact of dream to reality.
We arrived at the third and final location of the exterior wood. The camera was positioned in-between branches, that gave the film a feel of enigma and makes the audience feel anxious as though someone was watching him through the wood. On the day of filming, we played around with the camera (hid it in bushes, tracking shots looking through a hedge etc). This proved extremely successful as it created that air of enigma and also illustrated the point that this character must be running from someone or something. The risk of the camera through the hedge paid off and made the piece a lot more entertaining to watch.
One main decision to come out of the third filming session was the idea to follow thematic conventions in the editing process, and follow ideas used in the theatre of the absurd (I.e. expressionism, strange effects and the alienation technique.) This also helped class the thriller as a psychological. Once all the clips were ordered on the timeline in the editing suite, we began to look for a balance of length of shot as well the thematic structure of the film. With the target audience in mind, we began the real editing process by cutting down some of the footage to precise times that would allow one scene to flow into another. We began to cut heart pounding scenes into a tightly constructed sequence , to give an immense impact on the audience. We played with pacing to see if the audience would respond better to an increase in speed. Once decided , we invited a focus group to watch two trial clips with two different types of pacing. With a unanimous decision it was decided that the one with greater speed added a more conventionally dramatic feel to the psychological genre. Black and white was added onto the timeline in the last instance, to add atmosphere to the piece and to make the audiences experience a lot more 'hell raising'.
SECTION FOUR.
Overall, I think that the final production was a success. We met all the aims that were set in our brief, including target audience needs and requirements of an 18 certificated psychological thriller.
The key contributor to the thematic structure and the psychological nature of the thriller , is the way in which the film begins with the film noir wood scene, where the main protagonist is running through the woods , with a shot reverse shot present with the titles. The upbeat pace of the opening lures the audience into a false sense of security and allows their senses to play tricks on them. With the opening so fast paced, we are propelled, intrigued, into the character's life. What is he running from and why? The key connotational representation of a dream is given to the audience by the film noir technique. However, the audience are not 'spoon fed' the answers to their questions about the opening section. Who is this man? Why is he running? Etc. The audience are forced into thinking for themselves. By allowing the audience to think about the situation, the piece becomes a lot more open ended and allows people to become more intrigued. It caters for a much more sophisticated audience, such as an '18'is capable of drawing. They are not dragged along in the action by a clichéd ridden film, that spoon feeds the audience in a comical and amusing way such as 'Scary Movie'.
Furthermore, a successful scene in the production , is the 'WARNING' scene. That is again used to contribute to the psychological feel of the film. With this present the audience feel vulnerable, they wonder what may happen during the film. In the research we found that these 'WARNINGS' are only used when the audience may sue for distress caused. With this knowledge, we felt it was the perfect tool to play with the audience's state of mind, by making them think: 'do I look away now or not'. The voice used in the narration of this warning connotated danger, by the steady but serious delivery of the voice, that furthermore directed the audience into a state of discomfort. Yet it was also conventional, even a parody and this double ness of seriousness and comedy adds to the edgy quality we were after . By the time the warning has finished with 'a nervous disposition to look away; now', the 20th Century Fox tune and image begins, the audience are then pushed into a state of confusion, watching the film, and lingering is the fear and expectation of what may happen. Once the establishing shot begins the audience are now watching with anticipation, of what may happen to the character. With the order of stages (I.e. Warning , 20th Century Fox theme and opening sequence), the audience are manipulated into an anxious uncertain state of mind. Once the main protagonist falls onto the floor whilst running, the audiences hearts jump with fear, due to the manipulation technique stages used before the opening section. The music of the production proved successful. For example, 'Kingdom is Coming' by Gothic Bauhaus, used in the opening section, helped build on the audiences psychological state of mind. The music had a fast beat which connotated the heart beating fast. The heavy sadistic breathing connotated that someone was following the main protagonist and all is not well. It helped immensely to build on the audience's fears . The second piece of music is where the main protagonist is doing his morning business. The music played is by 'The Doors' and is entitled 'People are Strange'. This eerie, 'chilly' music is in a sense quite subversive and helps to provide a pointed contrast to the main protagonist's apparently 'normal' life, and it allows the audience an insight into how the main protagonist may act. With this comical rock music present, it plays as a red herring for the final shock to the audience. With this red herring present, the audience are now lured into this false sense of security, were everything is ok. As time goes on a narration begins that again confuses the audience , into the idea that everything seems ok, but what if the narrative voice over is true. The narration ends with, 'his dreams are eating him away'. The audience expects something to happen. But as a final psychological reversal another red herring is used within the old women who joyfully shouts morning to the main protagonist. The audience are then shocked by the protagonist's wrath and anger with the word 'FUCK OFF'. The audience laugh in fear and discomfort . This is also a good example of the alienation technique, associated with the theatre of the absurd, to which I referred earlier. Overall the psychological thriller genre is met. Destiny fulfilled !
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