Idea 1:
Possible names: The Diary, March 13th.
Overview: A teenage girl from a single parent family; her dad is hostile to her, and her mother was murdered when she was young. She has never been told about what has happened to her mum, and wonders/ suspects why her dad is being hostile and secretive. The diary is a way for her to keep the memory of her mum alive, and the only thing in life that she feels happy and safe with. One day, she finds something out about her dad when she is researching/ finding pictures of her mothers death. She suspects that her dad was the killer in her mother's murder. The twist in the story is that she is in fact the killer.
There will be a linear narrative; the film starts with her childhood, then jumps to her life as a teenager, in the present.
Idea 2: An alternative to idea 1
Possible names: The Diary, March 13th
Overview: A teenage girl, because of some traumatic past, is 'gifted' with premenissions of seeing peoples murders before they happen. However, people think that this is because of the traumatic event that she is turning mental (to a lesser extent), and so for the best, she is admitted to a mental institution. From there, she keeps a diary, and writes down all her premenitions and feelings; telling every person that will listen to her. The detectives investigating the strange murders find out about the girl, and get her to help save the victims before they are killed. The twist is that she is the killer, fixing all of the murders beforehand, and in taking the kiler to the new murder victims, the detectives are condemning them. The film ends with her being killed herself: including the morality factor, because she is in effect only a kid, but has the capability to murder tens of people.
There will be a linear narrative.
Idea 3:
Possible names: Candle light, Wick
Overview: A man's candle company is being phased out by the introduction of gas and electricity. He cannot afford to keep the business alive, and so in retalliation to the thought that he may have to lose his business, he murders people who are mainly linked with this, using the fat and blood from their bodies to make the candles. After he murders the victims and makes the candles, he sadistically keeps one candle as a memoire of his 'good work' in the backroom of his shop. When he is finally caught by a relative of one of his victims, they find the back room, and the thousands of candles inside.
There will be a linear narrative.
We have chosen to film idea 1, as we feel that the opening to this will be easiest to film in context with the overview.
Tuesday, 2 December 2008
Section 5: Task 4: Treatment
HOUSE
Starts off in the family house; flashbacks to her childhood and her life as it is now. This location establishes (in present time) the hostility between dad and daughter, and the lack of mother figure.
HOUSE (Time passes)
Same location but older actor(s). Establishes the passing of time, and moves the story on: she wants to find out who killed her mum. See her cutting up and sticking down photos of her mum, which represents her wanting to keep the memory of her mum alive, and therefore her love.
LIBRARY
Researching into her mothers death. Looking through old newspaper archaives, and discovers that her dad has been a suspect in her mothers murder.
PARK
In shock, she runs away; too scared to go home as she is convinced that her dad is the killer (the audience will also be led to think this through the way in which they interact, especially important in establishing this aspect of the film in the house when she is a teenager/older).
LIBRARY PORCH
Pathetic falacy used to create a intimidating and lonesome environment: she has ran away and is now living on the streets (her first night alone).
STREET
Something scares her in the shadows of the library, or somewhere around her: so she runs into the street, where she is hit by a car. The audience do not see this, but it will be implied.
HOSPITAL
This helps to imply that she was hit by the car.
STREET
Her dad's perspective: he is trying to look for her after he realises his daughter is missing. The camera swaps between the hospital and the street (when she was on the streets) to create the feeling that her dad is 'hunting her down'.
CAR
The dad finds the daugher in hospital, and takes her home. Most of the shots will be through the mirror to again, create the sense of distance between them: because they have to speak through the mirror, not directly to eachother. Also, the shot of the dad will create a sense of intimidation again, adding to the effect that he has 'hunted her down' and therefore adding to the suspense of the story: what will he do to her? Will he kill her?
HOUSE
They both get out of the car, and walk into the house. Here, she confronts him about the murder after being backed into a corner by her dad. She is screaming at him and hysterical. The camera shows that the dad is losing patience with the daughter. He then reveals that she is the one that has killed her mother: her split personality.
This will have been hinted at through the film, as we plan to use different shots of her, different lighting, mirror shots etc.
Starts off in the family house; flashbacks to her childhood and her life as it is now. This location establishes (in present time) the hostility between dad and daughter, and the lack of mother figure.
HOUSE (Time passes)
Same location but older actor(s). Establishes the passing of time, and moves the story on: she wants to find out who killed her mum. See her cutting up and sticking down photos of her mum, which represents her wanting to keep the memory of her mum alive, and therefore her love.
LIBRARY
Researching into her mothers death. Looking through old newspaper archaives, and discovers that her dad has been a suspect in her mothers murder.
PARK
In shock, she runs away; too scared to go home as she is convinced that her dad is the killer (the audience will also be led to think this through the way in which they interact, especially important in establishing this aspect of the film in the house when she is a teenager/older).
LIBRARY PORCH
Pathetic falacy used to create a intimidating and lonesome environment: she has ran away and is now living on the streets (her first night alone).
STREET
Something scares her in the shadows of the library, or somewhere around her: so she runs into the street, where she is hit by a car. The audience do not see this, but it will be implied.
HOSPITAL
This helps to imply that she was hit by the car.
STREET
Her dad's perspective: he is trying to look for her after he realises his daughter is missing. The camera swaps between the hospital and the street (when she was on the streets) to create the feeling that her dad is 'hunting her down'.
CAR
The dad finds the daugher in hospital, and takes her home. Most of the shots will be through the mirror to again, create the sense of distance between them: because they have to speak through the mirror, not directly to eachother. Also, the shot of the dad will create a sense of intimidation again, adding to the effect that he has 'hunted her down' and therefore adding to the suspense of the story: what will he do to her? Will he kill her?
HOUSE
They both get out of the car, and walk into the house. Here, she confronts him about the murder after being backed into a corner by her dad. She is screaming at him and hysterical. The camera shows that the dad is losing patience with the daughter. He then reveals that she is the one that has killed her mother: her split personality.
This will have been hinted at through the film, as we plan to use different shots of her, different lighting, mirror shots etc.
Monday, 1 December 2008
task 4: section 4 Audience Research
we found in our results the following data:
how old are you ?
15 or under
0%
16
60%
17
20%
18
20%
19
0%
20
0%
Gender?
male
50%
female
50%
how often do you go to the cinema or watch a film on average?
never
0%
once
50%
twice
30%
once a week
20%
everyday
0%
most days
0%
how do u define the thriller genre?
smart, scary and action
50%
pychological, suspenceful and clever plots
30%
cheesy etc
20%
do they like thrillers?
yes 70%
no 30%
what do you think makes a good thriller?
plot
60%
make you feel your in the film
10%
fire
10%
violence action
20%
what make a good thriller?
gory
10%
psychological
90%
in you oppinion what is the difference between a certificate 18 and a certificate 15?
more sex violence and gore
100%
which do you prefer?
15
60%
18
40%
in conclusion, we have decided from these results that we will be doing a pyschological thriller with will have a certificate of 15. we beleive that as people watch thriller for the pyschological aspect of the film, the film will not have to be an 18
how old are you ?
15 or under
0%
16
60%
17
20%
18
20%
19
0%
20
0%
Gender?
male
50%
female
50%
how often do you go to the cinema or watch a film on average?
never
0%
once
50%
twice
30%
once a week
20%
everyday
0%
most days
0%
how do u define the thriller genre?
smart, scary and action
50%
pychological, suspenceful and clever plots
30%
cheesy etc
20%
do they like thrillers?
yes 70%
no 30%
what do you think makes a good thriller?
plot
60%
make you feel your in the film
10%
fire
10%
violence action
20%
what make a good thriller?
gory
10%
psychological
90%
in you oppinion what is the difference between a certificate 18 and a certificate 15?
more sex violence and gore
100%
which do you prefer?
15
60%
18
40%
in conclusion, we have decided from these results that we will be doing a pyschological thriller with will have a certificate of 15. we beleive that as people watch thriller for the pyschological aspect of the film, the film will not have to be an 18
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