Research on Weapons

Today we have gone up to the Editing Suite to check out the weapons that they have for our terrorists. We found the ones underneath. However, Mike happened to be there and told us that they were not really the right ones for us to use. These ones are a model that is too associated with Western culture, while the AK-47, which they have in the Theatre Department, is perfect and more widely extended. It would be more convincing for our Siberians to have it because it is free of specific implications. Furthermore, Mike mantains that it looks more professional and its materials are of better quality. The model which we decided to avoid is shown underneath.

Mike argued that the AK-47 are more common to see and convey a much more convincing aesthetic, which looks much more real than the other guns. There is only one in the Theatre Department apparently, but the truth is that it could work for us because we only need to show the gun that the extremist who kills the protagonist is carrying, thanks to our decision of a low camera angle.

Myles emailed Elisabeth to get further information from the Theatre crew and see if it would be fine for them to lend us the model that we would need. However, she told us to email Al, as he's the one in charge of those issues.

Al replied pretty soon positively so we are good in this aspect. We will probably get hold of the AK-47 and a pistol just in case we want to show something else on the frame.

Search for Inspiration

Since the beginning, we have been inspired by a series of media texts to make our sequence. The first one came across when Myles was still thinking about potential ideas. He had watched, some time ago, a film called "Taken" —I'm sure you've heard of it—. There is a scene in which a young girl is hiding under her bed while some kidnappers search for her. She's on the phone but, apart from that, this section bears a lot of ressemblance with ours. The angle in which it is filmed, how the camera is positioned, the feelings that the threatened character experiences and the general storyline. 

Apart from this source of ideas, I have myself recycled many movies that I have watched in the past to make ours look compelling in my mind. I have thought of the film Rope (1948), which is filmed in non-stop continuity almost completely, with few cuts in the right moments which are almost impossible to notice. This contributes to the sense of tension because there is no space for the audience to rest and reflect properly. The images are thrown to them straight away, without pause, as it would occur in real life.

Hitchcock used mainly the character's dark coloured suits to cut from one sequence to the next one without being obvious. He placed a characterin front of the camerawho was supposedto be causally listening to a conversation or going somewhere. Within a few seconds, he would cut and start filming again with the pertinent changes.

We can probably use his technique at some point, especially thinking of our concerns about showing Callum's facial make-up in the beginning of the sequence. A simple moment of darkness due to a lightning problem in the hotel, or some character's body covering the frame as they are searching for something under the bed would be effective. In my opinion, the best moment to cut the scene would be when Ella is hiding under the bed. Even in the storyboard, I have decided to include a black frame when she gets in front ofthe camera and covers the light, a few seconds before she is placed behind of the lense and the camera starts acting like her own eyes.

For the drama that affects the couple when David falls to the floor and stares at Ella once he's dead, we have thought of conveying a similar psychological approach to what it happened some weeks ago during a terrorist attack.We saw in the news that a husband covered his wife's body in order to save her life. He got killed and the woman had to stay silent under his dead body for hours until the situation was over.

Storyboard

After so much time and effort, I have finished our storyboard. It was tricky to do it because most of our sequence is going to be filmed continuously, so there weren't any real changes in angle or major movements. However, I think that I did a clear account of everything that we want to show and how we want to show it overall. I have tried to include many details of the set design, as well as the most relevant actors' changes of position. The storyboard also made me reflect on issues like lighting; Luke maintains that we should have a window somewhere in the set to give more clues to the audience about where is the action taking place. The glowy reflection of the snow in the parquet flooring would certainly be effective.

I am certainly satisfied with the work I have done, especially because I haven't had any actual help and it was my first complete storyboard to plan and illustrate. See it for yourselves! 

Elena, Ellis, Myles and Emma Storyboard from Katie Emily

Pitching to Matt. Feedback & changes

After having decided on most aspects of our opening sequence, we were recommended to talk to Matt, as he is the person who has the last word in the issue, at this stage of the process. As our idea had already been approved by Mike, it was easy to explain it with accuracy and efficiency after the slight improvements that we had implemented. We even put together a Power Point to point out more clearly the plot, the props and costumes that we require and the ideal cast, among other details. However, Matt wanted to hear the idea directly from us, so we constructed a quick synopsis making sure that we included everything. 

Initially, he thought it was a good idea but had some objections. He explained that it was not advisable to place our characters in a thriller involving a major crime like drugs, as we suggested as one of the reasons why they were being chased as a couple. He also clarified that it would be quite difficult to show a convincing hotel room to the audience because of our lack of resources and budget. Likewise, we were reminded that most twin beds in expensive hotels do not have a gap under them so the credibility would be doubtful. 

At that point, we were discouraged and thought that we would have to think of complicated alternatives. Nonetheless, Matt came up himself with a perfect variation of what we had been developing throughout the last weeks. He proposed that we could set the story in a location with extreme weather like Siberia, in a backpackers' sort of hostel with grungy facilities. The protagonists could conform to that stereotype as well and be young globe-trotters and film makers that had recorded something on tape that they shouldn't. This would be shown thanks to the dialogue; the enemies, presumably from the Russian government or a private organisation, consistently ask for the tape, and the girl hides it with her under the bed following her partner's order. 

If we used this alternative, the scene could perfectly be filmed in the Studio and the story would be more engaging. Moreover, we would not have to worry as much as before about the appearence of the backpackers as they would not have to look especially old for the roles. We have been thinking of casting Charlie Ridgeway and Louisa Binder as the definite couple, so we will be making them aware of this fact before the end of the week. Their assassins/kidnappers are going to be Russian actors, so we would have more plausibility and we would place the thriller in a more international context, probably involving a complex spy story in a worldwide scale later on.

The Test Shoot

We filmed our test shoot on Thursday during the class period. Luckily, we managed to do it in Emma's room in the Lodge. We used Myles' phone. I was the camera woman, Myles and Ellis were the couple and Emma was the terrorist. I filmed most of the scenes from a spot under a table with some cloth so it would look like the bed we need. The problem is that we did lots of cuts and, no matter how we do the editing, it looks quite jumpy. Katie has said that this happens because we should have recorded the whole scene each time from various angles instead of cutting in different positions, as we did it beforehand in the Preliminary Task. However, the time was against us and we were lacking most resources necessary for the effectiveness of the opening sequence. The dialogues were almost improvised, and not enough tension was implemented. 

The result was a bit disappointing, but it is true that we have not utilised all the elements that we are planning to use in our actual sequence, and some details need development.

Overall, we get a general feel of the idea and our approach, though we have realised that we have to think more deeply in details such as why the man goes out of the room or if the killer/s are specifically looking for them or if it is a random mass murder. The process was extremely useful both for the technical side and the building of the storyline. 

Our initial idea will undoubtedly work from my point of view, but we really need to plan it better next time, bring the right props and cast the right people. We also require better equipment, something that will be given to us soon. In general, I feel quite positive about the possible outcomes.

Preparing for the test shoot

The next step is a test shoot, which is essential to determine whether the idea that we have decided to work from is compelling enough and if it is a realistic target to achieve. For the planning, we spent several hours brainstorming to decide upon a specific variant of our idea. Mike came to help, and he advised us to carry out the following sequence: the couple is preparing to go out. We know this thanks to the movement of their shoes and the dialogue. They start hearing sounds in the distance but they don't pay too much attention. Then, the man goes out of the room to get something (ice for a glass of champagne, for instance), and comes back in a estate of panic, telling his fiancee to quickly hide because they are coming. After the initial confusion, she gets under the bed and he, within the last second, hides inside of the cupboard. The killer enters the scene, just in time to see the cupboard's door bending. He shoots the man, and his face in blood becomes visible for the woman, still hiding under the bed. As the assassin walks out, she lets out a scream and we see the shoes coming back.

In order to represent this idea that has evolved over time, we had to do some doodles establishing the angle that we were most interested in to film from. We wrote the summary again, with the slight changes that had occurred. A Shot List is also very useful to have an orientation of what we are going to search for during the filming of the sequence. We searched for locations. Initially, we thought of the Lodge, as Emma has her bedroom there and we could use both her bed and her cupboard to be more or less realistic. Katie, however, told us to have a back-up idea in case we were not allowed to film in the house, so we went to check in the Studio. We found a spot under the table, and the door which leads to a smaller room could be our potential cupboard. 

Our Initial Ideas

We have already refreshed the memories of the other group members about our thriller ideas, as we had previously presented them to the whole class but we wanted to make things clear again. I talked about my ideas of the taxi driver —human taxidermist— and the psychopath looking for a dead body in the forest. Ellis told us about her idea of a sadistic commentator of a football match and a killer with human limbs in the fridge, while Myles highlighted his idea of a couple in a hotel confronting the appearance of a terrorist. 

After giving it some thought, we decided that we particularly found Myles' idea appealing, as it was simple but effective, and could leave the audience with a very strong feeling of tension. The original idea for the opening sequence was to show a couple, presumably in their twenties-thirties, relaxing in a hotel room, lying in bed and talking, when they suddenly start hearing noises that connote danger. They panic and after a few seconds of uncertainty, the woman gets under the bed and the man hides in the cupboard. The terrorist comes in and drags her out of the bed, while the man looks at everything —we are planning to include some shots from inside the cupboard, from his position— without taking the initiative to help his partner.

I personally liked the idea because of the truthfulness of seeing the man in a helpless position in which he is not doing anything to save her from danger. It is something that would surely happen in real life because of the overwhelming fear that this person would experience, but which is rarely represented in media texts anyhow. Moreover, the use of sound would build enough tension for the viewers to feel engaged and be willing to keep watching the scene or the film.

So far, we have been advised by Katie to consider other variations of the initial idea, as it has some flaws like why the terrorist only takes the girl and doesn't search any further. We have been told by Mike, too, that the idea would be much more compelling and visually attractive if we filmed the whole scene from under the bed, with a proficient choreography of steps and objects popping into the frame. This feedback is worth considering, and we will have to decide sooner than later!

Getting into our Groups

After having listened to our ideas and considered who would work together with each other, our teacher introduced us to our groups. I have been placed with Myles Lamond, Ellis Monk and Emma Bruning. We are all quite different but I think that we could produce interesting outcomes. Myles can be lazy at times, though he has ideas worth considering and a very pragmatic approach for solving problems, just as me. Ellis is very hard working and she truly cares about the subject and the work we will be doing shortly. She is also responsible and can organise herself properly. Emma is less communicative in general, though she is a good listener and I'm sure she will do anything to help if the targets are clear. 

Overall, I am satisfied with the group I have been allocated in due to the abilities of each of us. We will start considering, blending and discarding ideas as soon as possible.

Ideas for an Opening Thriller Sequence

I've been brainstorming... Here's the result!

Ideas for an opening sequence from elenae81

What is a Thriller?

A thriller is a broad genre of literature, film and television. It is defined by the mood which it immerses the audience into, generally excitement, anticipation and even anxiety. The plot usually revolves around a climax, which is the most important element of this type of media text. Literary devices are utilised as resources to build up the feeling of suspense the film needs to be successful. Some examples are red herrings, cliffhangers and plot twists, to contribute to the unexpected nature of the genre. However, it is important not to get too carried away with the unpredictability of the storyline because, most of the tims, it is advisable to be accessible for the regular audience. One of the most attractive characteristics of a thriller is having the opportunity to try and guess what will happen in the end, so there needs to be a clear logic behind the actions that we see in the screen. 

The main axis of a film like this is mostly always determined by the relationship protagonist-antagonist. The danger that the main character faces is over exaggerated to add to the tension. For instance, an atmosphere of menace and sudden violence is prevailing. Hitchcock's films often include an innocent victim or even just an average person into an unusual situation, probably for us to get more involved in the story and sympathise with them. The element of time is also very handy, as well as the inclusion of personal problems or doubts along the way, sometimes clashing with the overall objective of the protagonist. It is another technique to give more truthfulness to the characters and to make us stressed by the perspective of not seeing the problem solved by the end of the movie. Though I haven't mentioned it yet, thrillers often have happy endings as a contrast with all the amount of tension we were exposed to during the rest of the thriller.

I found some advice I could probably apply to the future opening scene I am going to do. 

Any aspiring artist should make sure that they:

• feed in necessary information about the characters or their world by dribs and drabs well before a suspenseful moment arrives --  and when it does, keep information to a minimum. Suspense stumbles beneath the weight of exposition. 

• use foreshadowing to signal uneasy possibilities. Sometimes, you know that it’s dangerous to try, but you can’t help but do it anyway or I felt a chill, as if someone had walked over my grave.   In the classic courtroom thriller The Anatomy of a Murder, the writer Robert Traver several times describes features of the landscape with phrases like as treacherous as a spurned woman; this raises in readers’ minds the unsettling idea that the alleged victim whose rape was provocation for a murder could be lying. 

• introduce will he/ won’t he situations: will the boy from the Indian slums be able to answer the quizmaster’s question, or will he fail? The more impressive the obstacles ranged against success – the slumdog’s lack of education, the quizmaster’s hostility, the covert threats – the more thrilling is the suspense. 

• sprinkle a hint, for readers to pick up, of danger ahead (the shadow at the window, the unlocked door, the blinking answering machine) while your character, who is luxuriating in the bath, or playing video games,  remains oblivious. Alfred Hitchcock made expert use of this ‘Hitchcock effect’ in his films; equally in novels, scenes where readers are aware of an imminent threat that a character has overlooked are the ones that have us screaming: Stop, Stanley, stop!!!! Don’t drink from that open bottle! Don’t go into that dark alley! Don’t …!!!

• set up two courses of action, where the neglect of either could have dire consequences; then force your character to choose between them. Should she rush to collect her child from pre-school, or make a dash to intercept a killer? Should the detective save his partner from imminent death, even though the resulting exposure could land himself back in prison, or should he get the hell out of there? Lose-lose choices plunge readers into an agony of uncertainty. Result? Rocketing suspense. 

• at the same time, don’t overdo it. Recognize that suspense depends upon fluctuation in mood. It relies for its impact on contrast with more everyday moments that precede it. There’s nothing less exciting than non-stop excitement, says Guy Saville, author of The Africa Reich, and he’s right. 

For the whole article, go here.

After this introduction of the gender and its effectiveness, we should break it into sub-genres to explain it in more detail. The main ones are:

Action Thriller

Its means of creating suspense is through physical action and continuos motion, with lots of scenes which contribute to the sense of danger I previously talked about. 

Some examples are "Die Hard", "Kill Bill Vol. 1" and "The Bourne Identity".

Crime Thriller

It is full of suspenseful aspects and the plot usually focuses on a murder, robbery or manhunt. Both action and psychological aspects build the tension. 

Some examples are "The Usual Suspects", "The Fugitive" and "Jagged Edge".

Film Noir

Some would not consider this a sub-genre, but it is regarded as one in many sites. It is basically a stylistic type of crime mixed with drama that flourished throughout the 40s and 50s. It often relies on a narrative voice and the use of flashbacks to explain the plot, which tends to be intricate. 

Good examples would be "Sunset Boulevard", "The Maltese Falcon" and "Sweet Smell of Success".

Psychological Thriller

In this sub-genre, the suspense comes from the mind, rather than from a physical origin. The protagonists often have to rely on their mental resources to solve the complications they encounter. Some of them almost mix up with the horror genre.

"Memento", "Rear Window" and "Taxi Driver" are psychological thrillers.

Science Fiction Thriller

It incorporates hypothetical, science-based themes into the plot, placing the characters in a utopia or, most likely, ina dystopia. Advanced technology and unknown places are important here, an contribute to the effectiveness already caused by themes like alien invasions or contagious diseases.

Some examples are "Alien", "Inception" and "Distric 9".

After explaining all this information, I hope that everyone gets the idea as well as I have understood it. Now it's just a matter of creativity to come up with ideas for the actual sequence! Wish me luck.