Throughout TV dramas, soaps especially, the producers and directors attempt to have a balance between realism and drama in order to the show relatable and entertaining for the audience.
Soaps use everyday locations, such as the kitchen, bedroom and the street, because of this the show is appears ordinary to the audience, therefore making the show relatable to its audience; both Emmerdale and Hollyoaks have different target audiences, however both shows use similar locations and the characters are involved in everyday activities, such as having breakfast in the kitchen, having a coffee in the cafe or eating lunch out at the pub, although they both have different target audiences the everyday locations are relatable to all different age ranges and genders.
Characters are also used to create a sense of realism, however the drama revolves around the characters and this creates the entertainment; for instance in Hollyoaks the McQueen family and Tony, who all have everday jobs-waiteresses and chefs, but they have huge issues of betrayal surrounding them which is emphesised in order to create entertainment. The different types of characters within the soaps also give a sense of reality, moreso in Hollyoaks than in Emmerdale as Hollyoaks have a wide diversity of characters from disabled characters and black/asian families, however Emmerdale has a majority white cast which takes away the reality of the show as Britain is a multi racial company.
Monday, 9 March 2009
Monday, 2 March 2009
A Structured Paragraph on The Representation of Youth;
Skins:
Skins uses a mixture of stereotypes, that people associate with teenagers, sex and alienation in order to capture its teenage audience as a range of people can relate to the different stereotype characters. The use of the mise-en-scene, different camera angles/shot types, sound and editing techniques also help the audience relate to the different characters as they create a realistic insight into a group of stereotypical teenagers and their lives. In the first episode Tony, who is the leader and is perceived as a socialite, is calling his friends; each time he presses the hold button, the camera cuts to another phone call, this supports the stereotypical view that teenagers lead a hectic social life. The phone calls that Tony makes introduce us to each of the characters and shows the audience their stereotype and how they portray it; for instance when Tony calls Michelle she is in the bathroom beautifying herself with just a towel wrapped round her, the camera shots an over the shoulder shot while she is looking in the mirror and applying mascara this is a typical representation of a slutty/superficial person as she is preoccupied with her appearance; this is also suggested through the first shot when the camera pans up Michelle's legs as she is mosturising. Michelle's stereotype is contrasted by the phone call to Jal, as Jal is seen as unexciting as she follows the rules, this is suggested because when she is shown she is practising her clarinet, which is a classical instrument, in her tidy bland bedroom; this is the opposite to how Michelle is spending her morning. By contrasting the stereotypes, but making the people friends, suggests a sense of realism and helps the characters to be more believable to the audience as there is a wide diversity within the group of friends which happens with real teen groups, however the events that the group become involved in shows the audience that the groups stereotypes are emphesised in the extreme, for instance when Michelle is agreeing to have sex with Sid just so he isn't a virgin anymore.
Skins uses a mixture of stereotypes, that people associate with teenagers, sex and alienation in order to capture its teenage audience as a range of people can relate to the different stereotype characters. The use of the mise-en-scene, different camera angles/shot types, sound and editing techniques also help the audience relate to the different characters as they create a realistic insight into a group of stereotypical teenagers and their lives. In the first episode Tony, who is the leader and is perceived as a socialite, is calling his friends; each time he presses the hold button, the camera cuts to another phone call, this supports the stereotypical view that teenagers lead a hectic social life. The phone calls that Tony makes introduce us to each of the characters and shows the audience their stereotype and how they portray it; for instance when Tony calls Michelle she is in the bathroom beautifying herself with just a towel wrapped round her, the camera shots an over the shoulder shot while she is looking in the mirror and applying mascara this is a typical representation of a slutty/superficial person as she is preoccupied with her appearance; this is also suggested through the first shot when the camera pans up Michelle's legs as she is mosturising. Michelle's stereotype is contrasted by the phone call to Jal, as Jal is seen as unexciting as she follows the rules, this is suggested because when she is shown she is practising her clarinet, which is a classical instrument, in her tidy bland bedroom; this is the opposite to how Michelle is spending her morning. By contrasting the stereotypes, but making the people friends, suggests a sense of realism and helps the characters to be more believable to the audience as there is a wide diversity within the group of friends which happens with real teen groups, however the events that the group become involved in shows the audience that the groups stereotypes are emphesised in the extreme, for instance when Michelle is agreeing to have sex with Sid just so he isn't a virgin anymore.
Friday, 20 February 2009
Thriller Alterations
Our original thriller film idea had to be changed, even though it was a good idea, due to the filming of our original not having enough varity of camera shots and angles and the action not being clear due to poor lighting. Although our first idea was original and worked well, due to the lack of varity in the shots and unclear action we decided to change it to the film we have now; Snatched. In Snatched there is a wide varity of shot types from point of view, close ups, match on action, tilt shot etc.
Instead of just re-filming the original idea, which was immigration, we decided to change our idea completely because the location for our original film wasn't as accessible to our group as the City Center; also the certain people we had cast for the immigration film found it difficult to make it to Great Yarmouth (our original location) and to make time in order to attend the shot, in order to fix this problem we recast and had Emily and I as two of the characters and Andrew Drane as our third character; having Emily and I as two of the characters made it easier to make sure everyone could attend the shot, as we needed to be there anyway. Our final character played by Andrew (Andy) Drane was in our original film and agreed to be in our second attempt as well, this was helpful as we didn't need to explain anymore than the storyline to him as he had attended the original shoot as well.
I have included the planning for the original thriller below the planning for the recent completed thriller film, and storyboards for the original film should be up shortly.
Instead of just re-filming the original idea, which was immigration, we decided to change our idea completely because the location for our original film wasn't as accessible to our group as the City Center; also the certain people we had cast for the immigration film found it difficult to make it to Great Yarmouth (our original location) and to make time in order to attend the shot, in order to fix this problem we recast and had Emily and I as two of the characters and Andrew Drane as our third character; having Emily and I as two of the characters made it easier to make sure everyone could attend the shot, as we needed to be there anyway. Our final character played by Andrew (Andy) Drane was in our original film and agreed to be in our second attempt as well, this was helpful as we didn't need to explain anymore than the storyline to him as he had attended the original shoot as well.
I have included the planning for the original thriller below the planning for the recent completed thriller film, and storyboards for the original film should be up shortly.
Thursday, 19 February 2009
Stereotypes; Teen Dramas
Stereotypes of Geeks:*Clever
*Virgin
*Glasses
*Outcast of group
*Weird Behaviour
*Enjoy video games
*Good on computers
*Hate physical activities; football etc.
*Socially Awkward
The character Sid from Skins does conform to some aspects of the geek stereotype. In the photo above, he is pulling a weird expression which is stereotypical as geeks are seen to act slightly weird; he is also wearing glasses which is another classic stereotype of a geek. In the series Sid is known for acting weird and therefore being slightly pushed away from the group, an outcast; this is typical as people are intimidated by people that act differently to them.
As mentioned in the passage above Sid does conform to some of the aspects of the geek stereotype, however not all of them. Geeks are perceived as being outcasts, and although Sid is seen as an outcast in his group the guys are still his friends, as they ring him and are trying to help him fit in better; Tony is getting Michelle to sleep with Sid. He also misses exams to hang out with his friends, which is reversing the geek stereotype as they are the ones who are most nervous around exam time.
When we first meet Sid he is more typical of the average teenage stereotype rather than the geek stereotype, as he has slept in late and has an exceptionally messy room; lazy and messy are typical teen stereotypes. Sid is the only person in the mise-en-scene, however the audience can hear his dad shouting at him, this links with the stereotypical view that teenagers don't have good relationships with their parents.
Throughout the series of Skins there are separate episodes that focus on one particular character; for example, Sid's episode is called "Sid" as it is all about him. He is linked to storylines that involve him getting manipulated and embarrassed, however in his episode he develops more as a character and the audience see a different side to him, because when his mum and dad split up he stands up against his dad and demands that he attempts to win her back. He is also linked to two girls throughout the series; Michelle and Cassie which reverses the geek stereotype as they aren't generally linked with girls, however he does have awkward relationships with them and finds it difficult to convey his emotions; being socially awkward is another way that geeks are perceived.
Stereotype of teen pregnancy:*Troubled upbringing; parents don't care
*Strict/Neglected by parents
*Single parent families
*Never shown affection; need someone who loves them back
*Slag
*Uneducated about safe sex
*Irresponsible
*Have the mindset: "i can just get an abortion"
*Teens aren't good parents.
The character Amy from Hollyoaks conforms to few of these stereotypes of teen pregnancy, this is partly because Hollyoaks as a show attempts to show different sides to controversial issues. Amy doesn't come from a single parent family, however her parents don't seem to care about Amy as all their attention is given to her sister Sarah, this makes her jealous and rebellious; Amy and her parents have a tough relationship as a result, another stereotypical view of teenagers.
Amy thought about having an abortion, however went ahead with the pregnancy; this is a reversal of teen pregnancy stereotype mindset "i can just get an abortion" as Amy weighed up her options and decided to take responsibility for her actions which again is another event that goes against the stereotype as people perceive teen mothers as irresponsible. Amy attempts to protect her baby Leah throughout the series; first from Amy's mother who thinks that Leah is her's and then from Ste when he is abusing her [Amy]; these actions show that teen mothers can be good parents and that not all of them are irresponsible, this is a stereotype reversal.
Throughout the series Amy is linked to storylines such as domestic abuse and teen pregnancy, however in certain episodes she is shown to be taking control of the situations and attempts to stand up to Ste even if it means her getting hurt; this shows how her character has developed throughout the series as she is taking control rather than letting people do it for her; like her parents attempted to, when she had Leah they made her pretend that Leah's grandmother was in fact her mother, so "shame" wouldn't be bought on the family, taking responsibility is a stereotype reversal however the parent's reaction is a stereotypical response to how middle class families behave when teen pregnancy happens in their families.
Saturday, 14 February 2009
Compare the ways in which Hot Fuzz and This is England were packaged, marketed, distributedand exhibted:
This is England and Hot Fuzz were both successful British films; however they were different in their approach to distribution, marketing, packaging and exhibition. They both had to rely on different factors in order to engage audiences; especially as This is England wasn’t tied to any big distributors, such as Universal, whereas Working Title’s Hot Fuzz was tied to Universal.
This is England relied on the director Shane Meadows, as the actors were practically unknown; however it also relied on the political views of the target audience; an audience that lived through that era. The location was also precise, and not in a neutral area of the era; it was set in North Lincolnshire. This closes the audience that the film would appeal to because an audience member that lived up north during this time would relate better than one that lived in the south; this is another main reason that This is England relied on the political views of the audience as they had to agree with the political views of the film. Hot Fuzz on the other hand had a cast of well known actors, for example: Simon Pegg, Bill Nighy, Timothy Dalton and Jim Broadbent; and a well known director, Edgar Wright, who directed the film Shaun of the Dead which also has Simon Pegg in it. There was an appeal to finance Hot Fuzz because the majority of the audience would have seen Shaun of the Dead, which was a big mainstream film; it would also appeal to a mainstream audience because the production company was Working Titles, and Hot Fuzz was linked with Universal.
In This is England, the music played a huge part in the marketing, because it was music from the era it reminded the audience of that time, for instance: “Tainted Love” “Warhead.” Also the montage in the beginning of the film of Margaret Thatcher would relate to what people’s political views were at the time. However, Hot Fuzz marketed by appealing to a similar audience that Shaun of the Dead appealed to because Shaun of the Dead was so successful. Also the actor Simon Pegg is a recognisable face, and therefore the audience were drawn to the film, because he is also mainly linked with funny films, which then suggests to the audience that the film will be a comedy; also his comedies are normally mainstream and funny which markets to a wider audience.
This is England was linked with smaller distributors such as Optimum Release and Warp Films and had to raise it’s own finance, this meant that This is England had to choose carefully where to distribute their film; for example, areas that had bigger population density of their target audience. However Hot Fuzz had a wider distribution area due to links with Working Titles and Universal, and therefore had more finance in order to distribute further; also Hot Fuzz had the advantage of having a well known cast, and a director who directed the big hit, Shaun of the Dead.
This is England relied on the director Shane Meadows, as the actors were practically unknown; however it also relied on the political views of the target audience; an audience that lived through that era. The location was also precise, and not in a neutral area of the era; it was set in North Lincolnshire. This closes the audience that the film would appeal to because an audience member that lived up north during this time would relate better than one that lived in the south; this is another main reason that This is England relied on the political views of the audience as they had to agree with the political views of the film. Hot Fuzz on the other hand had a cast of well known actors, for example: Simon Pegg, Bill Nighy, Timothy Dalton and Jim Broadbent; and a well known director, Edgar Wright, who directed the film Shaun of the Dead which also has Simon Pegg in it. There was an appeal to finance Hot Fuzz because the majority of the audience would have seen Shaun of the Dead, which was a big mainstream film; it would also appeal to a mainstream audience because the production company was Working Titles, and Hot Fuzz was linked with Universal.
In This is England, the music played a huge part in the marketing, because it was music from the era it reminded the audience of that time, for instance: “Tainted Love” “Warhead.” Also the montage in the beginning of the film of Margaret Thatcher would relate to what people’s political views were at the time. However, Hot Fuzz marketed by appealing to a similar audience that Shaun of the Dead appealed to because Shaun of the Dead was so successful. Also the actor Simon Pegg is a recognisable face, and therefore the audience were drawn to the film, because he is also mainly linked with funny films, which then suggests to the audience that the film will be a comedy; also his comedies are normally mainstream and funny which markets to a wider audience.
This is England was linked with smaller distributors such as Optimum Release and Warp Films and had to raise it’s own finance, this meant that This is England had to choose carefully where to distribute their film; for example, areas that had bigger population density of their target audience. However Hot Fuzz had a wider distribution area due to links with Working Titles and Universal, and therefore had more finance in order to distribute further; also Hot Fuzz had the advantage of having a well known cast, and a director who directed the big hit, Shaun of the Dead.
Tuesday, 3 February 2009
How is sexuality portrayed in Torchwood?
In our media lesson, we watched a fight scene between Jack and John, and made notes on how Torchwood portrayed their sexuality (as they are both gay) and whether how the characters acted-as in their behaviour-reflected how the audience would stereotype a gay persons behaviour.
During the fight scene, the stereotype of sexuality are reversed. For instance: the editing misses key action, the two men getting up from the ground. This keeps the pace of the fight up and adds to the violent, masculine tone; this atmosphere isn't normally associated with the gay stereotype. Howevere there are moments in the sequence where the audiences stereotype of sexuality is confirmed. After the fight scene, the use of camera shots for instance: close ups; the use of this particular type of shot, shows the closeness between Jack and John, which is similar to how females behave after being in a fight.
The use of costumes both confirm and reverse the gay stereotype. Jack is wearing a long dark military style coat, which suggests that he is tough and masculine. However John is wearing a flamboyant bright red theatre style costume, which connotes that he cares more about his appearance, which is another stereotype about homosexuals, as he is wearing bright colour and Jack is wearing a dark colour. John also confirms the stereotype because many people believe that homosexuals like dressing up and are drama queens, but Jack wearing a military style coat gives the impression that he means business because he doesn't look as flamboyant as John.
As well as the costumes the fight scene is also flamboyant and passionate. The clip before the fight starts is Jack and John kissing in front of a plasma fire, this connotes passion and strong desire for each other. After the first punch is thrown, they both begin a full out fight, however they appear to be enjoying it, as Jack grins during the fight and the music is Blur "Song 2" which confirms an audiences view of a gay stereotype, because the song is upbeat and gives the shot an excitable tone. The passion and enjoyment between the two men suggests to the audience that it is similar to make up sex, and because the television companies can't air two men having sex, they imply that the fight is representing this; this is also connoted during the scene due the atmospheric lighting that is used, dark and mysterious which adds to the mood of passion, and takes away from the violence and masuclinity.
Another stereotype that is often associated with homosexuals is that they have more female friends than male. Although in Torchwood, Jack has an equal amount of male and female friends; however the way the shot of Jack's friends in the taxi is composed, connotes that his female friends are more important to him than his male friends because they are more central and the first close up shot the audience sees of Jack's friends is of one of his female friends. This stereotype could also be reversed, because although his female friends are more central and the first shot the audience sees of his friends is a female friend, the editing is produce in a way that cuts between his friends equally; female friend (cut) male friend (cut) female friend (cut) male friend, etc. This equally showing of Jack's friends could connote that he likes all his friends equally, and unlike the stereotype has no particular preference.
Torchwood, overall, have a balanced response to the gay stereotype. They don't entirely rely on how the audience would expect homosexuals to behave, but they also show a different side to them. The audience get the impression that Torchwood are trying to break away from the gay stereotype, in order to not stereotype people just because of their sexuality; however Torchwood don't remove everything, because the audience would have their own views of how homosexuals are supposed to behave; and as Torchwood is light entertainment they don't want to take the audience completely out of their comfort zone, by having gay stereotypes that the audience can't relate to or have any of their own understanding of.
During the fight scene, the stereotype of sexuality are reversed. For instance: the editing misses key action, the two men getting up from the ground. This keeps the pace of the fight up and adds to the violent, masculine tone; this atmosphere isn't normally associated with the gay stereotype. Howevere there are moments in the sequence where the audiences stereotype of sexuality is confirmed. After the fight scene, the use of camera shots for instance: close ups; the use of this particular type of shot, shows the closeness between Jack and John, which is similar to how females behave after being in a fight.
The use of costumes both confirm and reverse the gay stereotype. Jack is wearing a long dark military style coat, which suggests that he is tough and masculine. However John is wearing a flamboyant bright red theatre style costume, which connotes that he cares more about his appearance, which is another stereotype about homosexuals, as he is wearing bright colour and Jack is wearing a dark colour. John also confirms the stereotype because many people believe that homosexuals like dressing up and are drama queens, but Jack wearing a military style coat gives the impression that he means business because he doesn't look as flamboyant as John.
As well as the costumes the fight scene is also flamboyant and passionate. The clip before the fight starts is Jack and John kissing in front of a plasma fire, this connotes passion and strong desire for each other. After the first punch is thrown, they both begin a full out fight, however they appear to be enjoying it, as Jack grins during the fight and the music is Blur "Song 2" which confirms an audiences view of a gay stereotype, because the song is upbeat and gives the shot an excitable tone. The passion and enjoyment between the two men suggests to the audience that it is similar to make up sex, and because the television companies can't air two men having sex, they imply that the fight is representing this; this is also connoted during the scene due the atmospheric lighting that is used, dark and mysterious which adds to the mood of passion, and takes away from the violence and masuclinity.
Another stereotype that is often associated with homosexuals is that they have more female friends than male. Although in Torchwood, Jack has an equal amount of male and female friends; however the way the shot of Jack's friends in the taxi is composed, connotes that his female friends are more important to him than his male friends because they are more central and the first close up shot the audience sees of Jack's friends is of one of his female friends. This stereotype could also be reversed, because although his female friends are more central and the first shot the audience sees of his friends is a female friend, the editing is produce in a way that cuts between his friends equally; female friend (cut) male friend (cut) female friend (cut) male friend, etc. This equally showing of Jack's friends could connote that he likes all his friends equally, and unlike the stereotype has no particular preference.
Torchwood, overall, have a balanced response to the gay stereotype. They don't entirely rely on how the audience would expect homosexuals to behave, but they also show a different side to them. The audience get the impression that Torchwood are trying to break away from the gay stereotype, in order to not stereotype people just because of their sexuality; however Torchwood don't remove everything, because the audience would have their own views of how homosexuals are supposed to behave; and as Torchwood is light entertainment they don't want to take the audience completely out of their comfort zone, by having gay stereotypes that the audience can't relate to or have any of their own understanding of.
Thursday, 22 January 2009
Planning Thriller Film, "Snatched"
Camera Angles and Movement:
Shot 1: Long shot of two girls, Grace and Mary. Audience isn’t sure what the action taking place is, have an idea that it may be something sinister.
Shot 2: Cut to an Extra Close Up shot of Grace's hand, audience now knows what was happening in previous shot.
Shot 3: Close up of Grace taking the pills, camera tracks up from her hand to her mouth as she is taking the pills.
Shot 4: Close up of Grace and Mary facing each other can see their expressions, Grace is looking faint, and Mary looks worried.
Shot 5: Medium Close up of Grace starting to collapse, follows on from the previous shot, camera tracks Grace falling.
Shot 6: Cross dissolves to Medium Long Shot of Grace unconscious and Mary kneeling next to her. Camera has tracked Grace fainting from shot 4.
Shot 7: Extra close up of Mary shouting for help can clearly see her expression, which is shocked.
Shot 8: Long shot of Tom, audience can't see any detail because of this he looks sinister.
Shot 9: Long shot of Mary and Tom carrying Grace, Tom and Mary's relationship is still unknown to the audience.
Shot 10: Long Tilt shot of Grace in the boot of Tom's car, tilt shot mirrors audience confusion about what's going on. The Long shot establishes Grace's surroundings.
Shot 11: Point of view shot from Grace's point of view. Audience realises that she was drugged, and now that she is trapped in the claustrophobic car boot and that she has no means of escape.
Shot 12: Medium Close up of Mary and Tom talking, shot of car boot in the background; linking Mary and Tom to Grace inside. Audience realises that Mary and Tom are in this together.
Shot 13: Extra close up of the car boot. Camera follows Tom's eyes down to the car boot, links him to the situation.
Shot 14: Medium Long shot of Mary and Tom's conversation as it's ending, walking across each other, as if parting of the ways.
Shot 15: Medium Long shot of Tom getting into his car, can't see the back of the car, so audience don't know that Mary is sitting in the back, they assume she has left.
Shot 16: Point of view shot, in Tom's point of view, can see Mary in the rear view mirror, Tom looks shocked-similar feeling to the audience.
Shot 17: Extra Long shot of the car in the distance, audience don't know where the car is headed. Audience left wondering what happens to Grace.
Lighting:
The lighting in all of the shots is non-ambient. The street lights provided enough light for the action to be seen clearly, so there was no need to use extra lighting-from torches etc. We decided that the street lights gave our film the right atmosphere, as it gave an unglamorous and sinister feel because the street lights didn't give a bright white glow which would have been too harsh-another reason we didn't use extra lighting. The only shot that we didn't use the street lights was in shot 11, when Grace is trapped in the car boot. We used the light in the car boot to show the audience where Grace was trapped, but also to show the audience the car boot from Grace's perspective.
Casting:
Shot 1: Long shot of two girls, Grace and Mary. Audience isn’t sure what the action taking place is, have an idea that it may be something sinister.
Shot 2: Cut to an Extra Close Up shot of Grace's hand, audience now knows what was happening in previous shot.
Shot 3: Close up of Grace taking the pills, camera tracks up from her hand to her mouth as she is taking the pills.
Shot 4: Close up of Grace and Mary facing each other can see their expressions, Grace is looking faint, and Mary looks worried.
Shot 5: Medium Close up of Grace starting to collapse, follows on from the previous shot, camera tracks Grace falling.
Shot 6: Cross dissolves to Medium Long Shot of Grace unconscious and Mary kneeling next to her. Camera has tracked Grace fainting from shot 4.
Shot 7: Extra close up of Mary shouting for help can clearly see her expression, which is shocked.
Shot 8: Long shot of Tom, audience can't see any detail because of this he looks sinister.
Shot 9: Long shot of Mary and Tom carrying Grace, Tom and Mary's relationship is still unknown to the audience.
Shot 10: Long Tilt shot of Grace in the boot of Tom's car, tilt shot mirrors audience confusion about what's going on. The Long shot establishes Grace's surroundings.
Shot 11: Point of view shot from Grace's point of view. Audience realises that she was drugged, and now that she is trapped in the claustrophobic car boot and that she has no means of escape.
Shot 12: Medium Close up of Mary and Tom talking, shot of car boot in the background; linking Mary and Tom to Grace inside. Audience realises that Mary and Tom are in this together.
Shot 13: Extra close up of the car boot. Camera follows Tom's eyes down to the car boot, links him to the situation.
Shot 14: Medium Long shot of Mary and Tom's conversation as it's ending, walking across each other, as if parting of the ways.
Shot 15: Medium Long shot of Tom getting into his car, can't see the back of the car, so audience don't know that Mary is sitting in the back, they assume she has left.
Shot 16: Point of view shot, in Tom's point of view, can see Mary in the rear view mirror, Tom looks shocked-similar feeling to the audience.
Shot 17: Extra Long shot of the car in the distance, audience don't know where the car is headed. Audience left wondering what happens to Grace.
Lighting:
The lighting in all of the shots is non-ambient. The street lights provided enough light for the action to be seen clearly, so there was no need to use extra lighting-from torches etc. We decided that the street lights gave our film the right atmosphere, as it gave an unglamorous and sinister feel because the street lights didn't give a bright white glow which would have been too harsh-another reason we didn't use extra lighting. The only shot that we didn't use the street lights was in shot 11, when Grace is trapped in the car boot. We used the light in the car boot to show the audience where Grace was trapped, but also to show the audience the car boot from Grace's perspective.
Casting:
Man- Andy Drane
First Girl- Lauren Jordan
Second Girl- Emily Mullender
Names of Characters:
Man- Thomas (Tom)
First Girl- Mary
Second Girl- Grace
We decided on these names because they are biblical names (Mary and Thomas) or they are link with religion in some way (Grace), and it is ironic that the characters are involved in crime yet are linked to religion in which you are supposed to be good.
Characters with a back story:
*Mary and Grace are friends; They are both involved in drugs; Grace is more heavily involved in drugs that Mary, this is due partly to Mary's encouragement.
*Mary and Tom are partners in crime, although this isn't obvious to begin with (because Mary screams for help); Grace has no idea about Tom, therefore doesn't know about Mary and Tom. *Mary and Tom are old friends; Mary and Grace are more recent friends, only because of drugs. *Mary and Tom work for a drug lord; Grace owes him money.
Man, Thomas:
*Long dark coat
*Jeans
*Dark shoes
First Girl, Mary:
*Jeans
*Grey Hoody
*Green striped t-shirt
*White pumps
Second Girl, Grace:
*Jeans
*Light Grey Hoody
*White shoes
Brief synopsis of the plot:
Mary and Grace are in a unglamorous car park at night. Grace thinks they are there just to take their next fix, however Mary is waiting for Tom, in order to get Grace for the drug lord she owes money. Mary encourages Grace to take her drugs first; Grace collapses, and at first Mary screams for help, however this is just a show. Tom shows up (the audience think it is in order to help) and both Tom and Mary carry Grace to the car, however instead of putting Grace into the back of the car, they place her in the boot, then an exchange of conversation goes on between them, this is when you fully realise that they are together in this. They then drive off with Grace still in the boot.
Location:
Hollywood car park:
*unglamorous.
*people take drugs round that area; fits with plot.
*Generic due to unglamorous location.
*Lonely, threatening, empty.
Props:
*Car
Soundtrack:
*Basehop
*Nu Piano Project, Grime Unearthed.
We also looked on www.last.fm and other music sites that consisted of copy right free/unsigned bands.
We decided to use Nu Piano Project as the music for our thriller because it fitted well with the feel of the film, also the artist was unsigned and this piece of music was copy right free; the music is used throughout the majority of the film, however during a section where Grace is in the trunk there is diegetic sound of her breathing to give the sense of entrapment and confusion.
Title of the Film:
* Taken
* Abducted
* Snatched
* Kidnapped
In the end we decided on Snatched, because of it didn't sound as random and insignificant, or as though a small child was involved; as words such as abducted, kidnapped or taken normally are.
Storyboards:
First Girl- Lauren Jordan
Second Girl- Emily Mullender
Names of Characters:
Man- Thomas (Tom)
First Girl- Mary
Second Girl- Grace
We decided on these names because they are biblical names (Mary and Thomas) or they are link with religion in some way (Grace), and it is ironic that the characters are involved in crime yet are linked to religion in which you are supposed to be good.
Characters with a back story:
*Mary and Grace are friends; They are both involved in drugs; Grace is more heavily involved in drugs that Mary, this is due partly to Mary's encouragement.
*Mary and Tom are partners in crime, although this isn't obvious to begin with (because Mary screams for help); Grace has no idea about Tom, therefore doesn't know about Mary and Tom. *Mary and Tom are old friends; Mary and Grace are more recent friends, only because of drugs. *Mary and Tom work for a drug lord; Grace owes him money.
Man, Thomas:
*Long dark coat
*Jeans
*Dark shoes
First Girl, Mary:
*Jeans
*Grey Hoody
*Green striped t-shirt
*White pumps
Second Girl, Grace:
*Jeans
*Light Grey Hoody
*White shoes
Brief synopsis of the plot:
Mary and Grace are in a unglamorous car park at night. Grace thinks they are there just to take their next fix, however Mary is waiting for Tom, in order to get Grace for the drug lord she owes money. Mary encourages Grace to take her drugs first; Grace collapses, and at first Mary screams for help, however this is just a show. Tom shows up (the audience think it is in order to help) and both Tom and Mary carry Grace to the car, however instead of putting Grace into the back of the car, they place her in the boot, then an exchange of conversation goes on between them, this is when you fully realise that they are together in this. They then drive off with Grace still in the boot.
Location:
Hollywood car park:
*unglamorous.
*people take drugs round that area; fits with plot.
*Generic due to unglamorous location.
*Lonely, threatening, empty.
Props:
*Car
Soundtrack:
*Basehop
*Nu Piano Project, Grime Unearthed.
We also looked on www.last.fm and other music sites that consisted of copy right free/unsigned bands.
We decided to use Nu Piano Project as the music for our thriller because it fitted well with the feel of the film, also the artist was unsigned and this piece of music was copy right free; the music is used throughout the majority of the film, however during a section where Grace is in the trunk there is diegetic sound of her breathing to give the sense of entrapment and confusion.
Title of the Film:
* Taken
* Abducted
* Snatched
* Kidnapped
In the end we decided on Snatched, because of it didn't sound as random and insignificant, or as though a small child was involved; as words such as abducted, kidnapped or taken normally are.
Storyboards:
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