82.5% of the people who were asked to take our questionnaire were 16-17. 10% were 18-19, and just 7.5 % were 19 and over. So the people who took our survey were all quite young, and so this quiz has a young persons perspective.
92.5% of them liked films in general, and 80% said they liked the thriller genre.
When asked how often the went the cinema 20% said they went often, 52.5% said they went sometimes, 15% said the rarely went, and only 12.5% said the never went.
In regards to what kind of characters people said they like to see in thriller films, 30% said they like heroes, 25% choose gangsters, 17.5% said detectives, 10% went for spies, 5% said dug dealers, and the remaining 12.5 said other.
The most popular setting choice was a city with 47.5 %, 12.5% said farms, 12.5 said prison. 7.5 % said school, 5% said police station, and 15% said other.
When asked if they think eerie music makes something more suspenseful, 87.5% said yes, and only 12.5% said no.
We asked what the plot of the last film they watched was, some general characteristics of these plotlines are:
Murders, victims, crime type investigations.
Modern films with modern settings.
Twists and turns - these were written by many people, showing this tends to be the thing people remember.
Puzzles, and how they solve the. Generally a hero involved in the solving.
Gangsters and drug dealers/criminals
Mystery and complications
We also asked how they would improve these plotlines. A lot of people tended to say the same things, and 50% said they wouldn’t change the film at all. Other things people said are making it less obvious, making it shorter, scarier, put more twists in, less cheesy, easier to follow, and more mysterious.
We asked them what they thought would make an 18, the criteria our participants said was as follows :
Strong and offensive language
Nudity
Sex scenes
Drug use
Gory scene
Extreme violence
Disturbing scenes
Sunday, 30 November 2008
section 5: treatment
Title: In Suspense
NEWS REPORT
News reporter talks about deaths of SIMON SPENCER and SCARLETT HART shows picture of incident
FLASH OF WHITE – to show flashback“TWO WEEKS EARLIER” - on screen text
BATHROOM
Simon Spencer looking in bathroom mirror wearing shirt and suit trousers.Ties tie. Internal diegetic NARRATION post synchronisation – talks about life – Scarlett – being in the gang and hating it.Puts on leather jacket. Walks out of room.
BIG HOUSE + DRIVEWAY
Simon gets out of car.Walks to front door and is about to knockDAVID “Pidge” PIGEON opens door before he can knock “You’re late.” Mock seriousness.Joking they walk down hallway – shows them being best friends.
LIVING ROOM
Big dog barks at Simon “Calm down Audrey.” – MIKE STEELTense atmosphere.The gang has a meeting – we introduced to Scarlett and the other members here.They talk about a deal that they have got going down.Mike gives Simon the responsibility of running the “operation”Scarlett stands behind Mike Steel has her hand on his shoulder – shows they are supposed to be “together”
KITCHEN
Simon and Scarlett are in the kitchen making coffee – flirtatious – sexual tension. Walks towards her. Hand on wall leaning over her. KEVIN interrupts – He is suspicious.
LIVING ROOM
We see Kevin whisper something to Mike. There is a montage of moments showing all the times he has seen Scarlett and Simon flirting – pieces it together that they were obviously having an affair, right under his nose and he has only just seen this.
LATER ON - LIVING ROOM
It is darker showing it is later in the day.Mike says he wants Kevin to take over the lead in the deal.Everyone is leaving. Mike asks Simon to stay behind for a moment.Threatens him about Scarlett. Makes the offer of £10,000 to leave and never come back or he’ll kill him.Simon takes the money.
STAIRWAY
Scarlett is watching this happen. Runs upstairs visibly upset.
DRIVEWAY
Simon leaving looks up at windows seemingly guilty. He is actually looking for a place to sneak in and find her.
LATER
Simon climbs up the side of the house and knocks on the bathroom window. He climbs in and asks her to run away with him. She agrees after some convincing.Throws some clothes and money into a bag. They sneak out.
DRIVEWAY
Both get in car and drive away at high speed.
FRONT DOOR
Mike opens the door angrily and sees them turning the corner.
IN THE CAR
Scarlett and Simon driving away exhilarated.
IN THE HOUSE
Mike shouting hysterically down the phone. Calls up the rest of the gang.
HOTEL
Scarlett and Simon book a room under different names. At first it is exciting. After a while Scarlett begins to panic that they won’t be able to get away from Mike and if he finds them she knows he will kill them. Simon calms her down - assured that everything is going to be alright.
HOUSE - DINING ROOM
Mike and the gang members are planning a man hunt to capture Simon and Scarlett. Some are up for it. Others are not so comfortable with the idea e.g. Pidge – being Simon’s best friend.Talk about hotels where they could be – what names could they be under.Stumble across the idea when Johnny “Jobster” O’Brian makes a joke about them being like Bonnie and Clyde.Gang calls up local hotels they have in fact booked a room under the names Bonnie Hart and Clyde Spencer.Mike sends Johnny and Kevin to the hotel.
HOTEL
They are talking and packing up at a leisurely pace – audience suspense. Want them to hurry.
LOBBY
The lift doors open Simon and Scarlett are there. Simons face shows panic.Kevin and Johnny are at the desk arguing with a receptionist.Simon presses the “close doors” button frantically.
IN THE LIFT
Simon and Scarlett are panicking about how to escape. Decide to use the stairs and find a back door.
LOBBY
Kevin and Johnny are arguing with the receptionist – they want to know what room Scarlett and Simon are in. Receptionist refuses to tell them. Goes to get manager.Johnny jumps over the front desk and uses the computer to search and finds the room number. Kevin checks the car is still outside, it is. They run upstairs
OTHER STAIRS
Scarlett and Simon are running down and out round the back of the hotel.
HOTEL CORRIDOR AND ROOM
Kevin and Johnny run down the corridor and burst into room number 55. A woman is doing turndown service. They shout at her, she tells them the people in the room have just left.They run frantically back down the corridor and Kevin is about to take the stairs but Johnny says the lift will be quicker. – fast paced actions and music. They get in the lift. Doors close. It moves slowly. Stereotypical cheesy music plays. They are impatient. Kevin looks annoyed at Johnny. As soon as the door opens they spring out and run again frantically outside. The car is gone.
IN THE CAR
Scarlett is looking at a map. They are trying to decide where to go. Can’t agree on where. Simon tells her to close her eyes and point at the map and where ever she points to that’s the path they will follow. She points to Portsmouth. They decide to go there.
OUTSIDE THE HOTEL
Johnny on the phone to Mike. Apologising.
HOUSE
Mike is furious with the both of them. Tells them to drive around looking for Simon’s car but if they cannot find them they have to come back but Mike says “Trust me. You don’t want to come back here if you don’t find them.”
MOTORWAY - DARKER
early evening.Kevin and Johnny are driving along the motorway talking. Kevin sees Simon’s car parked on a grass verge. They pull over and run at the car - opening both doors. “ABANDONED!” they are furious. Call Mike again, tell him the bad news.The audience are left out of the loop in the abandonment of the car– a sign of things to come. Also creates suspense.
HOUSE - LIVING ROOM
Mike tells Pidge to go and help them in the search as he is the best at piecing the puzzles together and he knows Simon the best – he will know what Simon would do in a situation like this.
SERVICE STATION CAR PARK
We see Pidge pull up. He is trying to figure out what he should do, should he drive away? This shows his struggle. We sympathise with Pidge.
SERVICE STATION CAFÉ
Kevin and Johnny are eating - Pidge walks in.They tell him what happened.Pidge suggests that Simon would know not to stay anywhere near here because he knows how “conntected” the gang are in the area. Also says that they have to be in the UK because Scarlett did not have time to get her passport when they ran away. He asks a man where the nearest train station is.
AT THE STATION
Pidge looking at the departures. The long distance trains have not left yet. He sends Kevin to Platform 4, Johnny to Platform 1 and he runs to Platform 9.
RUNNING
Following Pidge to Platform 9He sees Simon helping Scarlett onto the train.Pidge is stopped in his tracks.Background noise muffles and fades away.All we hear Pidge breathing.Pidge thinks for a moment then springs into action running and jumping onto the train.
IN THE CARRIAGE
Pidge sees Scarlett and Simon finding a seat.He slides into one trying to stay hidden.
BACK AT THE STATION
Kevin and Johnny meet up again. Both are annoyed and ring Pidge.
IN THE CARRIAGE
Pidge’s phone rings. A recognisable ring tone that was a private joke between Simon and himself.Pidge panics and hits the answer button quickly.
SIMON AND SCARLETT
Simon’s face shows that he has heard this song. Listens, concerned at first but then smiles at the memory.
PIDGE
On the phone to Kevin. QUIETLY Tells them he’s on the train to Portsmouth. They argue. He wants them to go home and tell Mike they say they don’t want to have to face Mike. The will call him, keep him up to speed and then get the next train. Kevin hangs up.Pidge leans his head back. Annoyed and reluctant to let it go but he does.
SIMON AND SCARLETT
See them talking, laughing, planning. Time passes. Simon gets up to go to use the toilet. Pidge grabs a newspaper and hides his face. He is successful.
IN PORTSMOUTH
Simon and Scarlett get off the train. Pidge follows them to a little hotel on the seafront. They book a room. As soon as they have their key and leave reception he runs in, hastily books a room and follows them silently.
HOTEL ROOM
Simon and Scarlett think they are safely away.
CORRIDOR
Pidge leans against the wall. We again see him struggle trying to decide what to do.He turns to walk away.Then stops and puts his head in his hands.
HOTEL ROOM
There is a knock at the door. Scarlett is about to open it. Simon grabs her wrist before she can open the door. Suspense builds. He looks through the peep hole. Nothing can be seen.
CUTTING BETWEEN HOTEL ROOM AND CORRIDOR
Pidge has covered peep hole with his hand.Simon asks who is there?No reply.Pidge knocks again.Silence.“Spence, it’s me.”Simon realises that it is Pidge but is suspicious that he is not alone. They argue through the door. Pidge eventually convinces him that he is alone and lets him in.
HOTEL ROOM
They talk about how long their affair has been going on. Begin to argue. Pidge is hurt that Simon did not tell him. Simon explains. Pidge understands but tells them they will never be able to get away from Mike. Simon rhetorically asks what other options they have? Pidge accepts this, says goodbye to his best friend and then suggests that the least Simon could do would be to walk him to the train station.
NIGHT TIME - WALKING DOWN MAIN STREET OUTSIDE THE TRAIN STATION
Simon, Scarlett and Pidge walking, talking, laughing.Simon sees Kevin and Johnny further down the road.He misunderstands and becomes angry with Pidge thinking he has tricked them.Pidge has forgotten that Kevin and Johnny were coming, he did not mean for this to happen. Tries to convince Simon – he won’t listen to him. Pidge looks frustrated and begins walking towards Kevin and Johnny. Audience wonder he is going to do.
SIMON AND SCARLETT
Hide peering around the corner of the train station.
PIDGE
Walks up to Kevin and Johnny“I lost them.”Kevin and Johnny are annoyed with Pidge but understand how easy it is to lose them.He suggests they walk around and check hotels looking for them before they have to tell Mike.
SIMON AND SCARLETT
Simon sees what Pidge has done for them.
PIDGE
When Kevin and Johnny are not looking Pidge turns around to look in the direction of where Simon is hiding. Simon mouths “Thank you.” to Pidge. He is truly grateful.
A TRAIN PLATFORM
Simon and Scarlett get on a train again quickly.
MONTAGE
Shows the passage of time.The gangs useless searches.Almost catching them once - losing them again.Scarlett and Simon travelling around the UK - hotel after hotel - Renting cars.We see them getting tired of running away.We see the gang getting tired of the search apart from Mike who is adamant he will find them.
THE LAST DAY
Their two weeks is up.The audience has known the tragic end from the beginning.It begins with Scarlett and Simon in the car.No map.They know their way around where they are.
HOUSE
Mike and the gang are reassessing the search – going over the last week. Where Simon and Scarlett were last seen. Some want to end the search as it is not making them money like their usual work. Mike refuses to end it. The television is on in the background – volume turned down – the news report announcing Scarlett and Simon’s deaths comes on. Johnny tells one of the other gang members to turn the volume up. They all watch in stunned silence. Pidge’s face shows he is devastated.
NEWS REPORT
Takes over the screen.The television is turned off.Camera pans around to Scarlett and Simon sitting in an arm chair watching.We see they have faked their own deaths so that they could start a new life together.
THE END.
NEWS REPORT
News reporter talks about deaths of SIMON SPENCER and SCARLETT HART shows picture of incident
FLASH OF WHITE – to show flashback“TWO WEEKS EARLIER” - on screen text
BATHROOM
Simon Spencer looking in bathroom mirror wearing shirt and suit trousers.Ties tie. Internal diegetic NARRATION post synchronisation – talks about life – Scarlett – being in the gang and hating it.Puts on leather jacket. Walks out of room.
BIG HOUSE + DRIVEWAY
Simon gets out of car.Walks to front door and is about to knockDAVID “Pidge” PIGEON opens door before he can knock “You’re late.” Mock seriousness.Joking they walk down hallway – shows them being best friends.
LIVING ROOM
Big dog barks at Simon “Calm down Audrey.” – MIKE STEELTense atmosphere.The gang has a meeting – we introduced to Scarlett and the other members here.They talk about a deal that they have got going down.Mike gives Simon the responsibility of running the “operation”Scarlett stands behind Mike Steel has her hand on his shoulder – shows they are supposed to be “together”
KITCHEN
Simon and Scarlett are in the kitchen making coffee – flirtatious – sexual tension. Walks towards her. Hand on wall leaning over her. KEVIN interrupts – He is suspicious.
LIVING ROOM
We see Kevin whisper something to Mike. There is a montage of moments showing all the times he has seen Scarlett and Simon flirting – pieces it together that they were obviously having an affair, right under his nose and he has only just seen this.
LATER ON - LIVING ROOM
It is darker showing it is later in the day.Mike says he wants Kevin to take over the lead in the deal.Everyone is leaving. Mike asks Simon to stay behind for a moment.Threatens him about Scarlett. Makes the offer of £10,000 to leave and never come back or he’ll kill him.Simon takes the money.
STAIRWAY
Scarlett is watching this happen. Runs upstairs visibly upset.
DRIVEWAY
Simon leaving looks up at windows seemingly guilty. He is actually looking for a place to sneak in and find her.
LATER
Simon climbs up the side of the house and knocks on the bathroom window. He climbs in and asks her to run away with him. She agrees after some convincing.Throws some clothes and money into a bag. They sneak out.
DRIVEWAY
Both get in car and drive away at high speed.
FRONT DOOR
Mike opens the door angrily and sees them turning the corner.
IN THE CAR
Scarlett and Simon driving away exhilarated.
IN THE HOUSE
Mike shouting hysterically down the phone. Calls up the rest of the gang.
HOTEL
Scarlett and Simon book a room under different names. At first it is exciting. After a while Scarlett begins to panic that they won’t be able to get away from Mike and if he finds them she knows he will kill them. Simon calms her down - assured that everything is going to be alright.
HOUSE - DINING ROOM
Mike and the gang members are planning a man hunt to capture Simon and Scarlett. Some are up for it. Others are not so comfortable with the idea e.g. Pidge – being Simon’s best friend.Talk about hotels where they could be – what names could they be under.Stumble across the idea when Johnny “Jobster” O’Brian makes a joke about them being like Bonnie and Clyde.Gang calls up local hotels they have in fact booked a room under the names Bonnie Hart and Clyde Spencer.Mike sends Johnny and Kevin to the hotel.
HOTEL
They are talking and packing up at a leisurely pace – audience suspense. Want them to hurry.
LOBBY
The lift doors open Simon and Scarlett are there. Simons face shows panic.Kevin and Johnny are at the desk arguing with a receptionist.Simon presses the “close doors” button frantically.
IN THE LIFT
Simon and Scarlett are panicking about how to escape. Decide to use the stairs and find a back door.
LOBBY
Kevin and Johnny are arguing with the receptionist – they want to know what room Scarlett and Simon are in. Receptionist refuses to tell them. Goes to get manager.Johnny jumps over the front desk and uses the computer to search and finds the room number. Kevin checks the car is still outside, it is. They run upstairs
OTHER STAIRS
Scarlett and Simon are running down and out round the back of the hotel.
HOTEL CORRIDOR AND ROOM
Kevin and Johnny run down the corridor and burst into room number 55. A woman is doing turndown service. They shout at her, she tells them the people in the room have just left.They run frantically back down the corridor and Kevin is about to take the stairs but Johnny says the lift will be quicker. – fast paced actions and music. They get in the lift. Doors close. It moves slowly. Stereotypical cheesy music plays. They are impatient. Kevin looks annoyed at Johnny. As soon as the door opens they spring out and run again frantically outside. The car is gone.
IN THE CAR
Scarlett is looking at a map. They are trying to decide where to go. Can’t agree on where. Simon tells her to close her eyes and point at the map and where ever she points to that’s the path they will follow. She points to Portsmouth. They decide to go there.
OUTSIDE THE HOTEL
Johnny on the phone to Mike. Apologising.
HOUSE
Mike is furious with the both of them. Tells them to drive around looking for Simon’s car but if they cannot find them they have to come back but Mike says “Trust me. You don’t want to come back here if you don’t find them.”
MOTORWAY - DARKER
early evening.Kevin and Johnny are driving along the motorway talking. Kevin sees Simon’s car parked on a grass verge. They pull over and run at the car - opening both doors. “ABANDONED!” they are furious. Call Mike again, tell him the bad news.The audience are left out of the loop in the abandonment of the car– a sign of things to come. Also creates suspense.
HOUSE - LIVING ROOM
Mike tells Pidge to go and help them in the search as he is the best at piecing the puzzles together and he knows Simon the best – he will know what Simon would do in a situation like this.
SERVICE STATION CAR PARK
We see Pidge pull up. He is trying to figure out what he should do, should he drive away? This shows his struggle. We sympathise with Pidge.
SERVICE STATION CAFÉ
Kevin and Johnny are eating - Pidge walks in.They tell him what happened.Pidge suggests that Simon would know not to stay anywhere near here because he knows how “conntected” the gang are in the area. Also says that they have to be in the UK because Scarlett did not have time to get her passport when they ran away. He asks a man where the nearest train station is.
AT THE STATION
Pidge looking at the departures. The long distance trains have not left yet. He sends Kevin to Platform 4, Johnny to Platform 1 and he runs to Platform 9.
RUNNING
Following Pidge to Platform 9He sees Simon helping Scarlett onto the train.Pidge is stopped in his tracks.Background noise muffles and fades away.All we hear Pidge breathing.Pidge thinks for a moment then springs into action running and jumping onto the train.
IN THE CARRIAGE
Pidge sees Scarlett and Simon finding a seat.He slides into one trying to stay hidden.
BACK AT THE STATION
Kevin and Johnny meet up again. Both are annoyed and ring Pidge.
IN THE CARRIAGE
Pidge’s phone rings. A recognisable ring tone that was a private joke between Simon and himself.Pidge panics and hits the answer button quickly.
SIMON AND SCARLETT
Simon’s face shows that he has heard this song. Listens, concerned at first but then smiles at the memory.
PIDGE
On the phone to Kevin. QUIETLY Tells them he’s on the train to Portsmouth. They argue. He wants them to go home and tell Mike they say they don’t want to have to face Mike. The will call him, keep him up to speed and then get the next train. Kevin hangs up.Pidge leans his head back. Annoyed and reluctant to let it go but he does.
SIMON AND SCARLETT
See them talking, laughing, planning. Time passes. Simon gets up to go to use the toilet. Pidge grabs a newspaper and hides his face. He is successful.
IN PORTSMOUTH
Simon and Scarlett get off the train. Pidge follows them to a little hotel on the seafront. They book a room. As soon as they have their key and leave reception he runs in, hastily books a room and follows them silently.
HOTEL ROOM
Simon and Scarlett think they are safely away.
CORRIDOR
Pidge leans against the wall. We again see him struggle trying to decide what to do.He turns to walk away.Then stops and puts his head in his hands.
HOTEL ROOM
There is a knock at the door. Scarlett is about to open it. Simon grabs her wrist before she can open the door. Suspense builds. He looks through the peep hole. Nothing can be seen.
CUTTING BETWEEN HOTEL ROOM AND CORRIDOR
Pidge has covered peep hole with his hand.Simon asks who is there?No reply.Pidge knocks again.Silence.“Spence, it’s me.”Simon realises that it is Pidge but is suspicious that he is not alone. They argue through the door. Pidge eventually convinces him that he is alone and lets him in.
HOTEL ROOM
They talk about how long their affair has been going on. Begin to argue. Pidge is hurt that Simon did not tell him. Simon explains. Pidge understands but tells them they will never be able to get away from Mike. Simon rhetorically asks what other options they have? Pidge accepts this, says goodbye to his best friend and then suggests that the least Simon could do would be to walk him to the train station.
NIGHT TIME - WALKING DOWN MAIN STREET OUTSIDE THE TRAIN STATION
Simon, Scarlett and Pidge walking, talking, laughing.Simon sees Kevin and Johnny further down the road.He misunderstands and becomes angry with Pidge thinking he has tricked them.Pidge has forgotten that Kevin and Johnny were coming, he did not mean for this to happen. Tries to convince Simon – he won’t listen to him. Pidge looks frustrated and begins walking towards Kevin and Johnny. Audience wonder he is going to do.
SIMON AND SCARLETT
Hide peering around the corner of the train station.
PIDGE
Walks up to Kevin and Johnny“I lost them.”Kevin and Johnny are annoyed with Pidge but understand how easy it is to lose them.He suggests they walk around and check hotels looking for them before they have to tell Mike.
SIMON AND SCARLETT
Simon sees what Pidge has done for them.
PIDGE
When Kevin and Johnny are not looking Pidge turns around to look in the direction of where Simon is hiding. Simon mouths “Thank you.” to Pidge. He is truly grateful.
A TRAIN PLATFORM
Simon and Scarlett get on a train again quickly.
MONTAGE
Shows the passage of time.The gangs useless searches.Almost catching them once - losing them again.Scarlett and Simon travelling around the UK - hotel after hotel - Renting cars.We see them getting tired of running away.We see the gang getting tired of the search apart from Mike who is adamant he will find them.
THE LAST DAY
Their two weeks is up.The audience has known the tragic end from the beginning.It begins with Scarlett and Simon in the car.No map.They know their way around where they are.
HOUSE
Mike and the gang are reassessing the search – going over the last week. Where Simon and Scarlett were last seen. Some want to end the search as it is not making them money like their usual work. Mike refuses to end it. The television is on in the background – volume turned down – the news report announcing Scarlett and Simon’s deaths comes on. Johnny tells one of the other gang members to turn the volume up. They all watch in stunned silence. Pidge’s face shows he is devastated.
NEWS REPORT
Takes over the screen.The television is turned off.Camera pans around to Scarlett and Simon sitting in an arm chair watching.We see they have faked their own deaths so that they could start a new life together.
THE END.
section 6 Charecters outlines
Simon Spencer - He is a 20 year old male. He wears smart pants, a shirt and an undone tie. He’s cocky, smart and tough but caring.
Scarlett Hart – She is a 19 year old female. She wears a smart high-waisted pencil skirt and a tucked in blouse. She’s controlled by Mike.
David Pidgeon – He is an 18 year old male. He wears a suit with his tie done up. He’s happy, a joker and a helper but not intelligent.
Mike Steele – He is a 24 year old male. He wears a suit with his tie done up and a trilby. He’s a villain and is controlling and violent.
Jonny O’Brian – He is a 19 year old male. He wears a suit with his tie done up and he carries a gun. He likes guns.
Kevin Cameleon – He is a 21 year old male. He wears a suit with his tie done up. He’s sneaky and sly.
Miles Phillips – He is a 23 year old male. He wears a suit with his tie done up. He’s a nice man but he’s under peer pressure.
Colin Moyle – He is a 23 year old male. He wears a suit with his tie done up. He escaped from prison in France.
Scarlett Hart – She is a 19 year old female. She wears a smart high-waisted pencil skirt and a tucked in blouse. She’s controlled by Mike.
David Pidgeon – He is an 18 year old male. He wears a suit with his tie done up. He’s happy, a joker and a helper but not intelligent.
Mike Steele – He is a 24 year old male. He wears a suit with his tie done up and a trilby. He’s a villain and is controlling and violent.
Jonny O’Brian – He is a 19 year old male. He wears a suit with his tie done up and he carries a gun. He likes guns.
Kevin Cameleon – He is a 21 year old male. He wears a suit with his tie done up. He’s sneaky and sly.
Miles Phillips – He is a 23 year old male. He wears a suit with his tie done up. He’s a nice man but he’s under peer pressure.
Colin Moyle – He is a 23 year old male. He wears a suit with his tie done up. He escaped from prison in France.
Friday, 28 November 2008
section 7 Location sheet
Location priesley
health and safety extension cordes celotape keep away from water trained dog
Location jades living room
Adress 374 liverpool road great sankey
telephone number o1925 728379
health and safety extension cordes celotape keep away from water trained dog
Location jades kitchen
Adress 374 liverpool road great sankey
telephone number o1925 728379
health and safety extension cordes celotape keep away from water trained dog
Location jades bathroom
Adress 374 liverpool road great sankey
telephone number o1925 728379
health and safety extension cordes celotape keep away from water trained dog
Sunday, 23 November 2008
section 3 braintstorm
Thriller Ideas
Idea 1: A man escapes from an asylum, kills people all over the country but aims at killing the doctors of other asylums in order to help his physcopathic friends escape so they can all take over.
Idea 2: 7 people on death row, each one has committed a deadly sin, it turns out to be just one person as the killer who has 7 different personalities.
Idea 3: Little girl is kidnapped her parents have been left clues, they follows the clues, lots of twists and turns, to find her dead or alive?
Idea 4: A villiage has poisoned water they go to find out what is makes the water bad - find dead bodies, there is a mystery to be solved.
Idea 5: 8 teenagers locked in a school. They disappear one by one, find them dead, eventually they realise the murderer is one of them. The survivors try to escape. Murderer is the loner character. Lets the nice ones survive and kills himself.
Idea 6: A group of teenagers camping, two of the girls are killed. Murders are so horrific they think only an animal e.g. bear could have done it. Others run for help the forest ranger turns out to be the real killer, goes after the other three teens. A fight for survival.
These were our first ideas and were not chosen as they seemed too much like horrors or slashers, not having the detailed plot line or twist possibilities that a good thriller should have.
Idea 1: A man escapes from an asylum, kills people all over the country but aims at killing the doctors of other asylums in order to help his physcopathic friends escape so they can all take over.
Idea 2: 7 people on death row, each one has committed a deadly sin, it turns out to be just one person as the killer who has 7 different personalities.
Idea 3: Little girl is kidnapped her parents have been left clues, they follows the clues, lots of twists and turns, to find her dead or alive?
Idea 4: A villiage has poisoned water they go to find out what is makes the water bad - find dead bodies, there is a mystery to be solved.
Idea 5: 8 teenagers locked in a school. They disappear one by one, find them dead, eventually they realise the murderer is one of them. The survivors try to escape. Murderer is the loner character. Lets the nice ones survive and kills himself.
Idea 6: A group of teenagers camping, two of the girls are killed. Murders are so horrific they think only an animal e.g. bear could have done it. Others run for help the forest ranger turns out to be the real killer, goes after the other three teens. A fight for survival.
These were our first ideas and were not chosen as they seemed too much like horrors or slashers, not having the detailed plot line or twist possibilities that a good thriller should have.
Friday, 21 November 2008
section 3 Classification of film
We have reached the decision that a 15 certificate is the best for our film. An 18 certificate would eliminate a large section of our audience, and may not be necessary in terms of what we need to put in the film i.e. violence. A 12 would be restricting in what we could film, and may make the film less powerful.
A 15 is perfect as we can show some violence, without isolating part of our audience. And the lack of gore and extreme violence could create more suspension, which is fitting for the thriller genre.
A 15 is perfect as we can show some violence, without isolating part of our audience. And the lack of gore and extreme violence could create more suspension, which is fitting for the thriller genre.
synopsis
The synopsis for our film.
* News report.
* Flashback - 2 weeks earlier.
* Gang find out about Simon's love for Scarlett.
* Mike the gang leader tells Simon to take £10,000 and leave Britain forever, or get killed.
* Simon decides to leave but comes back for Scarlett.
* Simon and Scarlett are chased by the gang.
* Simon's best friend Pidge catches them, but helps them escape and tells Mike and the gang that he didn't see them.
* Simon and Scarlett fake their deaths.
* Goes back to the news report.
* News report.
* Flashback - 2 weeks earlier.
* Gang find out about Simon's love for Scarlett.
* Mike the gang leader tells Simon to take £10,000 and leave Britain forever, or get killed.
* Simon decides to leave but comes back for Scarlett.
* Simon and Scarlett are chased by the gang.
* Simon's best friend Pidge catches them, but helps them escape and tells Mike and the gang that he didn't see them.
* Simon and Scarlett fake their deaths.
* Goes back to the news report.
section 4audience research
How old are you? 16-17 18-19 19 and over
Do you enjoy films? yes No
do you enjoy thrillers? Yes No
How often do you go the cinema? Often sometime rarely never
What was the plot of the last thriller you watched?
...................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
What would you do to improve it?
...................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
what do you believe makes a film certificated 15 differnt from an 18?
...................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
what type of charecters do you enjoy watching in a thriller?
Heroes drug dealers gangsters detectives spies
Other? please state .................................................
Do you like thrillers to be set in a ..
school city farm police station prison
other? please state .................................................
Do you think music makes more tension in a film?
yes no
Do you enjoy films? yes No
do you enjoy thrillers? Yes No
How often do you go the cinema? Often sometime rarely never
What was the plot of the last thriller you watched?
...................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
What would you do to improve it?
...................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
what do you believe makes a film certificated 15 differnt from an 18?
...................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
what type of charecters do you enjoy watching in a thriller?
Heroes drug dealers gangsters detectives spies
Other? please state .................................................
Do you like thrillers to be set in a ..
school city farm police station prison
other? please state .................................................
Do you think music makes more tension in a film?
yes no
Friday, 14 November 2008
SECTION 2 RESEARCH INTO COMPAREABLE MEIDA PRODUCTS
I watched several films in class and two outside of college.
Jaws:
Narrative structure:
Jaws was played in linear order, it followed a group of teenagers at a party getting drunk, then was shortly followed by one girl chasing a boy into the ocean which led to her death and the begging of many others.
Sound:
Jaws used diagetic noises of the ocean and teenagers talking, dancing and singing. Jaws also uses non diagetic noises such as the now trademark theme of when the shark is approaching. This noise was played when the girl was in the ocean and at the beginning titles when the camera is doing shots under the water.
Editing:
Jaws cuts from shots under water to shots on land of teenagers, this could be predicting where the teenagers will be going.
Mise en scene:
On set the teenagers were dressed like every day teenagers, this made each death more personal to the audience cause it means that anyone can die. Also there was hardly any props used apart from every day things you see at the beach which also makes the setting more believable adding tension and scariness.
codes and conventions:
Jaws uses protraction, you know the girl is going to get eaten when the camera cuts to an underwater shot which seems to be like the point of view of the shark
Camera work:
The camera follows the teenagers everywhere to make the audience more involved. Also there are lots of camera shots under the water so the audience can see the sharks perspective
Silence of the lambs:
Narrative structure:
Silence of the lambs uses linear. It follows a FBI agent on a obstacle course who is then set to an office.
Sound:
The none diagetic noise at the very beginning of the film adds mystery, then the diagetic noises of her heavy breathing whilst shes running takes away from the mystery. Then from that scene the only use of sound are diagtic noises.
Editing
The camera cuts from the training course then goes to the FBI building then into the office. All of this editing helps us follow her actions.
Mise en scene:
The props used in silence of the lambs are very helpful as at the beginning it is not clear what she is running from of whom. But when we see her FBI jumper and the cargo net we realize what she is doing. Also her Jumper is grey whilst all the other men she shares a list with are wearing red, this it to remind the audience who has control and also connotes that she is heading for danger as she leaves the elevator. There are also very few women on set, when she see's a fellow women she gives her a high five which is quite a masculine gesture which shows how men over rule her every day life.
camera work:
there camera uses tracking shots whilst she is running and when the man calls her we see a close up of her face. then the camera also tracks her to the office. Which is followed by a pan of all the evidence on his cork board.
Graphics:
The titles of silence of the lambs are very bold and black which connotes evil, however this black is surrounded by white which means hope with conquer evil, this is reflected in the background by the dark tree and the white sky.
American psycho:
Narrative structure:
We follow a mans life in linear. His everyday routine is established.
Sound:
The first few notes of music are reflected by blobs of what appears to be blood, however when the more classical music kicks in it becomes clear that these 'blobs of blood' are actually food. After this kitchen scene there is a voice over, he sounds very ordered and in control.
Graphics:
The beginning of the film is a pure white screen which is then covered with red dots. Connoting a mixture of hope and violence a possible outcome of the film. Also the titles mix between capital Ariel text to a more elegant font which is randomly placed between words This reflects the mans personality.
Mise en scene:
The props used are very rich they are posh cutlery and expensive toiletries to show his expensive lifestyle.
Camera work:
The camera slowy pans through his house and around the restarunt, we never actually see head shots until the waiters begin to speak.
Codes and convetions:
This film makes me wonder,which is the convetion of the question and partial vison by Bonitzer.
bourne identity:
Narrative structure:
This film is in chronological order making it a linear film.
Sound:
There is diagetic noises of a storm like weather and waves crashing. This helps the audience realize the hash conditions in which a man is strangely floating in the middle of the sea. Then when he is found by the fishermen a Non diagetic violin begins to play.
Editing:
the camera simply cuts between the men on board to the one man outside which makes the audience think that the two must be coming together shortly.
Graphics:
The titles are black with blue high lighting which reflects the ocean which is also very dark blue and black.
Mise en scene:
The props used are simple fisherman accessorizes. The clothes are usual wet proof outfits and they all have shabby looking hair to show they have been away for a long period of time.
Codes and conventions
Partial vision and the question is also used in this film, the audience have no idea what is going on and why he is there.
Final destination:
Narrative structure:
The beginning of this film is linear.
Sound:
This film uses really eerie music whilst the titles play, this non diagetic noise is scary and builds a lot of tension.
Editing:
The beginning of the film is a lot of cuts of random object which when you look closely foreshadow the possible events of the film. each cut pans through the object so the audience can realize what the object is trying to resemble.
Mise en scene:
The props are all normal however when given a second glance they become to look a lot more creepier than first realized. The teddy bear hanging on a piece of string slowly begins to cast a shadow of what looks to be someone being hung.
Camera work:
The camera slowly pans around everything in the room to get a full view on what is around.
Graphics:
The titles are very haunting and stand out extremely well, they are dark with white flashes around them to catch the attention of the audience.
Codes and conventions:
This film definitely uses partial vision because after 4 minutes we still haven't met any characters or seen any actual setting apart from some random objects in what appears to be a boys room.
Jaws:
Narrative structure:
Jaws was played in linear order, it followed a group of teenagers at a party getting drunk, then was shortly followed by one girl chasing a boy into the ocean which led to her death and the begging of many others.
Sound:
Jaws used diagetic noises of the ocean and teenagers talking, dancing and singing. Jaws also uses non diagetic noises such as the now trademark theme of when the shark is approaching. This noise was played when the girl was in the ocean and at the beginning titles when the camera is doing shots under the water.
Editing:
Jaws cuts from shots under water to shots on land of teenagers, this could be predicting where the teenagers will be going.
Mise en scene:
On set the teenagers were dressed like every day teenagers, this made each death more personal to the audience cause it means that anyone can die. Also there was hardly any props used apart from every day things you see at the beach which also makes the setting more believable adding tension and scariness.
codes and conventions:
Jaws uses protraction, you know the girl is going to get eaten when the camera cuts to an underwater shot which seems to be like the point of view of the shark
Camera work:
The camera follows the teenagers everywhere to make the audience more involved. Also there are lots of camera shots under the water so the audience can see the sharks perspective
Silence of the lambs:
Narrative structure:
Silence of the lambs uses linear. It follows a FBI agent on a obstacle course who is then set to an office.
Sound:
The none diagetic noise at the very beginning of the film adds mystery, then the diagetic noises of her heavy breathing whilst shes running takes away from the mystery. Then from that scene the only use of sound are diagtic noises.
Editing
The camera cuts from the training course then goes to the FBI building then into the office. All of this editing helps us follow her actions.
Mise en scene:
The props used in silence of the lambs are very helpful as at the beginning it is not clear what she is running from of whom. But when we see her FBI jumper and the cargo net we realize what she is doing. Also her Jumper is grey whilst all the other men she shares a list with are wearing red, this it to remind the audience who has control and also connotes that she is heading for danger as she leaves the elevator. There are also very few women on set, when she see's a fellow women she gives her a high five which is quite a masculine gesture which shows how men over rule her every day life.
camera work:
there camera uses tracking shots whilst she is running and when the man calls her we see a close up of her face. then the camera also tracks her to the office. Which is followed by a pan of all the evidence on his cork board.
Graphics:
The titles of silence of the lambs are very bold and black which connotes evil, however this black is surrounded by white which means hope with conquer evil, this is reflected in the background by the dark tree and the white sky.
American psycho:
Narrative structure:
We follow a mans life in linear. His everyday routine is established.
Sound:
The first few notes of music are reflected by blobs of what appears to be blood, however when the more classical music kicks in it becomes clear that these 'blobs of blood' are actually food. After this kitchen scene there is a voice over, he sounds very ordered and in control.
Graphics:
The beginning of the film is a pure white screen which is then covered with red dots. Connoting a mixture of hope and violence a possible outcome of the film. Also the titles mix between capital Ariel text to a more elegant font which is randomly placed between words This reflects the mans personality.
Mise en scene:
The props used are very rich they are posh cutlery and expensive toiletries to show his expensive lifestyle.
Camera work:
The camera slowy pans through his house and around the restarunt, we never actually see head shots until the waiters begin to speak.
Codes and convetions:
This film makes me wonder,which is the convetion of the question and partial vison by Bonitzer.
bourne identity:
Narrative structure:
This film is in chronological order making it a linear film.
Sound:
There is diagetic noises of a storm like weather and waves crashing. This helps the audience realize the hash conditions in which a man is strangely floating in the middle of the sea. Then when he is found by the fishermen a Non diagetic violin begins to play.
Editing:
the camera simply cuts between the men on board to the one man outside which makes the audience think that the two must be coming together shortly.
Graphics:
The titles are black with blue high lighting which reflects the ocean which is also very dark blue and black.
Mise en scene:
The props used are simple fisherman accessorizes. The clothes are usual wet proof outfits and they all have shabby looking hair to show they have been away for a long period of time.
Codes and conventions
Partial vision and the question is also used in this film, the audience have no idea what is going on and why he is there.
Final destination:
Narrative structure:
The beginning of this film is linear.
Sound:
This film uses really eerie music whilst the titles play, this non diagetic noise is scary and builds a lot of tension.
Editing:
The beginning of the film is a lot of cuts of random object which when you look closely foreshadow the possible events of the film. each cut pans through the object so the audience can realize what the object is trying to resemble.
Mise en scene:
The props are all normal however when given a second glance they become to look a lot more creepier than first realized. The teddy bear hanging on a piece of string slowly begins to cast a shadow of what looks to be someone being hung.
Camera work:
The camera slowly pans around everything in the room to get a full view on what is around.
Graphics:
The titles are very haunting and stand out extremely well, they are dark with white flashes around them to catch the attention of the audience.
Codes and conventions:
This film definitely uses partial vision because after 4 minutes we still haven't met any characters or seen any actual setting apart from some random objects in what appears to be a boys room.
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