Character's costumes.

Detective.

Here is a pair of trousers which the detective would wear in our thriller opening. We have gone for a smart casual look.

Another item of clothing we have decided the detective to wear would be a plain white smart shirt to show his importance. The connotation of white is pure which will give the audience a sense that he knows what is going on.

To your left we have the detective's coat. We decided to go with a modern day kind of coat and not a trench coat like the detective "Sherlock Holmes" wears. We have done this because we did not want to do the stereotypical detective that people usually see on television with a pipe and magnifying glass.

We have chosen the character's shoes to be black because it gives a sinister look and goes with the dark vibe that goes with our film opening.

Mother.

Here we have the Mother's jeans. We have chosen to give her a young and stylish look. We thought to give her a nice slim fit because that is the style nowadays.

To the left we have got the Mother's coat. We decided to go with the style of a warm coat because she is in the woods on a chilly day at the start of spring.

Here we have gotten a pair of wellies that the Mother is going to wear. We decided to go with wellies because they are walking around in the woods at the start of spring which means that the mud will be everywhere and it will be all wet.

Father.

Here we have the Father's coat. We have tried to give him a stylish look with a coat that is in season at the moment. However, it is nice and warm so fits in well with the theme of our film opening.

Here we have the Father's jeans. We have again tried to give him a stylish look with jeans that are in fashion however we tried to die them down because he is in the woods and they will just get ruined.

Here we have the Father's wellies. For the same reason as the Mother, he is wearing wellies because of all of the mud in the woods and it ties in well with our film opening.

Child.

Here we have the child's coat. We decided to give her a "Hello Kitty" coat because it gives the sense that the child is a typical little girl who loves pink. This will give off that the child is sweet and innocent and this will effect the reader.

Here we have the child's trousers. We have given her just some simple jeans that a young child would have.

Here we have the child's wellies. We have given her pink wellies because our little girl character is known as a stereotypical little girl that loves pink.

Lesson 31-01-12

During this lesson Sadie and Jade researched into the different styles of make up which would be appropriate for the witch character in the psychological thriller, they then researched into what the male detective character may wear. The website www.burton.co.uk was used to research the clothing.

Sadie then researched into how the two different types of woods would be conveyed through out the film, choosing lighter woods when the family is around and darker tones when the witch is in shot or the audience is viewing the film through her eyes.

Kat in the mean time was focusing on the plan of the story board, and choosing the correct shots for each take, and the order of which they'd be viewed by the audience eventually.

The view of the woods through characters eyes!

These 2 images of a wood shows how we want to create different atmospheres for different characters. On the left the wood seems light and spread out! This is what we'll see when the family is around, however to the right of the picture the woods are darkened, misty and slightly blured. This is how we want to get across the woods when the with is either in shot, or when we're seeing the enviroment through her eyes as a point of view shot.

Witch Make-Up Research

We like this style of make up however we feel we'll use a more low key style, to make it seem much more realistic rather than a slapstick cartoon style. We don't want our witch to be stereotypical, therefore we're taking away the warty nose, and large chin etc.



The video above is how we feel we want to get across the style of the witch. It looks scary yet old and sort of vintage. The costume of the witch however we feel is much to light, we want our witch character to be in dark gothic clothes to get across her dark life and emotions.

Insidious Screen Shots

Dexter - Title Sequence

Dexter is an American tv show rather than a film, therefore some of the shots are completely different to some thriller films, however I feel it connects perfectly with ours. E.g. Taking usual everyday items and twisting their meaning, creating suspense and intrest for the audience. This is exactly what we want to do with our psychological thriller film.

The first shot we see is of a mosquito being slapped, and squashed onto what seems to be a mans arm. ThThe man hits the mosquito quite hard getting across his anger. After he realises the mosquito is dead he smirks, and I feel this shows the audience that he is proud of killing the creature. (This maybe foreshadows whats to come in the programme).

After this shot the title is shown in a very bold font, in a blood red colour. With each drop of blood that lands on the background the colour of the typography gets darker and darker, again getting across that the programme may get darker throughout the series.

There are then various everyday shots such as shaving, cutting food, blending coffee, and flossing. However these shots play with the mind as they're close up which play with the mind. For example, the raw meat that the male character is cutting looks like human flesh, and the flossing scene gets across that the character could be preparing a murder.
The final close up shot we see of the male character is him putting in his shirt, the way of which he does this however makes the audience feels as if he's hiding his identity, this connects with the close up of the door looking. I feel the shot of the door being locked shows the audience how the character likes his identity to be somewhat locked, and closed away much like his possesions.

The final shot of the whole sequence is of the male character walking away from his house, and looking directly to the camera making an automatic link with the audience. The sound which kind of 'dings' in the background makes it seem as if the character is winking towards the viewers. This makes him seem cheeky and a neighbourly type of person who people get along with.

Jeepers Creepers Frame By Frame

Jeepers Creepers Screen Shots

When A Stranger Calls Opening Scene

The first 25 seconds of the film is just simple dialogue between a 2 callers, one a younger female and the second an older male. You can tell this by the tone of their voices, however the title of the film suggests to the audience that this opening dialogue isn't going to be all what it seems. During the last few words of the call the camera takes a quick zoom into the window. This first shot also establishes that fact that it's night time.

 After the phone conversation has ended the camera pans to the right showing that the house where one of the callers is, is backed onto by a fairground. Connotaions of a fairground would be: Fun, Bright, Exciting. And this is the flip side to what the film is about. Fairgrounds also suggest that children may be involved as it's where they're likely to go to have fun with friends etc.

The camera then quickly changes direction and zooms into the centre of the fairground, and tracks two children running, shouting and having fun.

A shot is then established of a strange dark figure walking a dog in an isolated part of the fairground, this automatically makes the male figure seem mysterious. Two jump shots then occur zooming into the males face again making the figure seem myserious and concealed.

The call is then re-dialed and the camera pans straight back up to the house which we recognise as it was the first shot of the whole scene. This then makes us aware that this house is maybe where some of the film may be shot ans some of the main action could take place.

The mysterious male figure is then caught on shot once again, next to the same post he should have previously walked past. As this show is further on in the scene this may suggest to the audience that the man had been stood near the post perhaps watching something. The older male sat on the bench then waves and the younger male figure then waves back, which all seems completely normal.

The shot then cuts to a house on what seems to be a regular street in America, in the distance however we can see a blacked out figure stood at the door with their hands on their hips. This body language may suggest that the person is waiting for something/someone and is getting increasling impatient.

The camera then tilts upwards towards a brightly light sign, the main focus point on the sign being the word 'JESUS' this shows that the neghbour is obviously religious, and therefore the audience wouldn't expect anything bad to happen here. However in the background of the house where the shadowed figure is standing we can notice the fairground once again, showing that this is the house that has been previously shown in the first shot.

The camera then makes a sharp zoom into the figure, and in the background we can hear this happen also due to sound effects. The camera then zooms in once more and we can tell that the figure at the door is a woman who is frantically calling childrens names. This suggests that the children have been outside, and due to the body language in the previous shot, they're maybe late home or something similar.

The shot then cuts once again to the fairground scene and we start of with seeing children jumping at the fence waiting for the ride. However after a few split seconds we see a figure walk briskly across the scene, and as the figure is similar to the male one in previous shots we can quickly connect them together.

The camera then again cuts to a shot at the back of the house which we previously seen during the first shot. The phone line then starts ringing through again ans a young girl answers saying 'Hello? Hello?' This shows that the person calling is unknown to her, and is a stranger calling. This connects with the title and therefore shows the audience what the film will be about, and based around.

Our chosen Target Audience

We have decided to aim our psychological thriller film at older teenagers and adults in their early twenties as they're the age group that within our research seemed to know a lot more about these less conventional thrillers than any other age range. We have also chosen to aim our film more towards females of this age as again they seemed much more interested and had stated that they'd previously watched a psychological thrillers and enjoyed it. Although females are less likely to visit cinemas than man, we feel this film would me much more appropriate for them and posters, and trailers etc would persuade them to watch the film. However during research we have discovered the age group we have aimed our film at is that age group that most U.K films are aimed at meaning we have lots of competition, perhaps making it harder to create a profit overall. The language that we're using will be English as this is again the language of films which produce the biggest gross profit.

This next information is from the website: http://www.bbfc.co.uk/classification/guidelines/15-2/

Suitable only for 15 years and over - No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’ rated video work.

Discrimination - The work as a whole must not endorse discriminatory language or behaviour.

Drugs - Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable.

Horror - Strong threat and menace are permitted unless sadistic or sexualised.

Imitable behaviour - Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised.

Language - There may be frequent use of strong language (for example, ‘fuck’). The strongest  terms (for example, ‘cunt’) may be acceptable if justified by the context. Aggressive or repeated use of the strongest language is unlikely to be acceptable.

Nudity - Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.

Sex - Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable.

Theme - No theme is prohibited, provided the treatment is appropriate for 15 year olds.

Violence - Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification.

When creating our film we must assure that we refer to these guidelines to assure our film is suitable for our chosen age group. 

Target Audience Research

This research shows us how our film shouldn't be aimed at young teenagers, this is because during our videoing and questioning we discovered that people aged between 15-17 weren't necessarily interested in films that involved anything psychological, they were however interested in modern conventional thrillers that involved chase scenes and car crashes rather than our film which will hopefully include mind games, and complicated scenes that engage the audience into believing something that isn't necessarily true.

The two videos above show the age range of our target audience; 18-24. We have chosen this age group as they knew what would be involved within a psychological thriller and stated that they had previously been to the cinema to watch them. We also asked our target audience what the films were that they had seen, as this would therefore give us something to base our film around as it had previously interested our audience.

Our previous thoughts were to go with an audience 25+ however after interviewing that certain age group we found out that they were very uninterested in thrillers all together and therefore it wouldn't do us any favours having them as our audience as we would have to work around the main conventions of a modern/psychological thriller to make it more suitable for them.

In this sequence of the film Se7en, the camera does a numerous amounts of close ups of a variety of different objects in the film. This can show the audience what is happening at the start and trying to make them think what is going on. The first image we see at the start is of an old book which looks quite beaten up as the pages in it look faded and crisp. Also at the same time a bit of text comes up stating that the film is present by "New line cinema".
They have used quite odd font which seems to have been written over a couple of times with a pen. This gives a sense of anger or maybe frustration. Also it fits in with the music which is in the background, the music in the background is a thunder sound but with scratching. This ties in well with the font as it looks as if the font has been scratched quickly and messily to created a sense of rush.
This font relates to the film/ genre of this film as it is a thriller and the text looks as if it should be in a thriller based film because it looks sketchy and as if someone wrote it quickly to try and get out of somewhere they are trapped. Also, the font gives off a jumpy vibe when the title sequence is on because it jumps when it is on, which a connotation of this could be that it gives the audience a sense that something is wrong or something is going to happen which isn't going to be good.
On the other hand, throughout the sequence the camera has filmed in a low lighted room which gives of dark colours for example, black, a dark faded blue, grey and a faded green. This fits in well with the genre of the film because the conventions of a thriller are low lighting and dark colours which gives the sense that everything isn't going to be happy in this film.
However, the images used in this sequence work well together as it shows the audience that a man making something, cuts himself with the needle, puts a bandage on it and then starts to write something in the book that was shown at the start. It then goes on with an image of a boy and the character crosses the boys in the photo eyes out, which could signify that the character is going to go after that person in the photograph and try to get rid of him.
After that is shows images of the character making some sort of book and he is cutting out the word "God" to put into it which indicates that the character is a religious man.

Frame By Frame Of "The Ninth Gate"

Frame 1: In this frame the camera is doing a wide shot, which is when the subject is taking up the full frame. With this shot it has showed us what is in the room that the character is in to try and give the audience a grasp of what the character is like.

Frame 2: In this frame the camera has closed up onto the chair to signify that something is going to happen with it. From the carpet and furniture around it, you can tell that the character is old fashioned.

Frame 3: In this frame the camera done a tilt angle going up which then gave the audience a close up shot of a rope to indicate that something bad has/ going to happen with it.

Frame 4: In this shot, the camera done a jump cut to get to this angle of the man. From this angle you can see what the man is doing and what is in the room. For example, The photograph next to the man could signify something.

Frame 5:Again, in this shot the camera has done another jump cut to the man's feet to show that he is walking towards the chair in the previous shots. This indicates that the man is going to get onto the chair.

Frame 6: In this frame the camera done a jump cut to the man standing on the chair and grabbing the rope. This shows the audience that he is about to commit suicide by hanging himself.

Frame 7: Here the camera done another jump cut to the man's feet to show that he is rocking the chair to try and make it fall over so that he can hang himself.

Frame 8: Here the camera done a jump cut again to the lights flashing as when the man jumped he broke the light with his force.

Frame 9: In this shot the camera jumped cut again the show that the man is not stood on the chair any more and is hanging himself. It shoes you a close up on his feet, to show the audience that he isn't touching the floor and having a fit when he is loosing his life.

Frame 10: With this shot the camera has done a tilt angle where it moves upwards to show the audience the desk of which the ma was sat at, at the start of the clip.

Frame 11: Here the camera zoomed in on the letter, which the man was writing on at the start of the clip. It then follows on with doing a close up of the letter, as it does this is then uses a shallow focus shot.

Frame 12: In this shot the camera done a pan shot, which means it made moved right to show the audience what is in the room. As it does this shot it then follows through with doing a mid close up of a book rack in the room.

Frame 13: After the close up in the previous shot, the camera continues to do a panning shot to show the audience that the character had a book collection. However it could also indicate that the character was well educated and quite intellectual.

Frame 14: In This shot the camera done a close up of the missing book place which then lead us to another place which is called a graphic shot.

Frame 15: In this shot the camera is zooming in where the missing book was, which then leads the audience into another place that we don't know what it actually is. Which then opens another door to another dark place which then shows us just the names of the actors in the film.

Richard Kelly

James Richard Kelly was born March 28 in 1975. Richard is an American film director and writer, best known for writing and directing the cult classic Donnie Darko in 2001.
The film Donnie Darko was given a budget of only $4.5 million. This was his first feature and was nominated for 21 small awards, winning 11 of them, including a nomination for a Saturn Award. This film was then later number 2 on Empire Magazine's list of 50 greatest independent films of all time.
Richard Kelly's fourth film and second feature, Southland Tales, a rough cut of which screened in competition at the 2006 Cannes Film Festival, was released November 16, 2007. In this film was a numerous amount of stars such as, Dwayne Johnson, Sarah Michelle Gellar, Seann William Scott, Kevin Smith and Miranda Richardson.
Even though Richard Kelly's films differ between characters and settings, they all share the same themes of time travelling, existentialism and spirituality.

Brad Anderson

Brad Anderson Was born in Madison, Connecticut 1964. He is the son of Pamela Taylor Anderson. He is an American film director that mainly does thrillers, horrors and television projects. He is best known for directing "The Machinist" that came out in 2004, who starred Christian Bale.
His two most recent films were the well-received Transsiberian, that came out in 2008, a thriller starring Woody Harrelson, Emily Mortimer, and Ben Kingsley, and the horror film, Vanishing on 7th Street, that came out in 2010, starring Hayden Christensen, John Leguizamo and Thandie Newton. However, both Transsiberian and The Machinist were funded by Anglo-German production companies.
In 2002 Brad Anderson was one of the members of the dramatic jury at the Sundance film festival.
Also, at one point Brad was one of the candidates to direct the Paranormal Activity sequel.
On the other hand, Brad Anderson has not only directed films but he also does television series. for example he has directed a numerous episodes of the series "Fringe" as well as two episodes of "The Wire".
For the future Brad Anderson is planning to direct another film called "The Living And The Dead" which is based on the novel by the same name of Robert Tinnell and Todd Livingston. Also after working together on The Machinist, Anderson and Bale currently plan to collaborate again on an adaptation of J.G. Ballard's novel, Concrete Island.

David Fincher

Born on the 28th of august 1962, in Denver, Colorado, USA. Fincher is best known for his dark thrillers such as, Panic room, Seven, The game, Fight Club and Zodiac. He began making films with a small camera at the age of 8 which were inspired by the 1969 American Western film directed by George Roy Hill - Butch Cassidy and the Sundance Kid. In 1983 he was hired by the company industrial light and Magic where he worked on productions for Indiana Jones and the temple of doom, Twice Upon a star and also Star wars: Return of the Jedi. He stayed with this company for a year and then left to direct a commercial for the American Cancer Society. This particular commercial bought him to the attention of producers in L.A where he was given the chance to direct the documentary ‘The beat of the living drum’. Fincher also directed many famous music videos such as Madonna’s – ‘Vogue’, and ‘Express yourself’. Finchers most recent film ‘The girl with the Dragon Tattoo’ has awarded him many awards. Fincher also uses many of the same techniques within his films such as many of his films ending with a suicide both attempted and successful. Also low key lighting, many wide, and low angle shots, and many of his films include flashbacks for characters involved.

M. Night Shyamalan

Born on the 6th of August 1970 in India. His passion for filming began at the age of 8 when he was given his first ever camera. He modelled his career around his idol – Steven Spielberg. In 1992 He created his first film; Praying with anger, the film was sort of based on his own life, and the travel back to the India where he was born. Shyamalan directed, produced and starred in this film. Nowadays Shyamalan is known for producing and directing films with supernatural plots that climax to a twist ending. Shyamalan plays many roles when it comes to creating his films, for example in The Happening, Unbreakable, Lady in the water, Signs, The village and The last airbender, He Wrote, Produced, Directed and starred in. One of His most well-known films is the sixth sense which he produced and directed. Shyamalan uses various techniques throughout all of his films e.g. Car crashes, Water as a sign of death or weakness, the use of bright colours (usually red) to show an important item in the movie, religion based, and important scenes set in basements. I feel this show how great his directing is as I have never noticed these same techniques until I started to research into them, which shows how he can use same techniques and crash scenes etc. in each film but then relate them making us only think of the scene for the particular film we’re engaging in.

Planning/ Research Thrillers and Horrors!!!!!

Thriller
-A genre of literature, film and television.
-Uses suspense, tension and excitement
-Subgenres: psychological thriller, political thriller and paranoid thriller
-Red herrings and cliff hangers are used extensively

Horror
-intended to frighten, inducing feelings of horror and terror.
-creates an eerie atmosphere
-can be either super natural or non super natural
-has ancient origins which were reformulated in the 18th century as gothic horror.

After considering these genres, we concluded that our timescale, themes and materials would be best suited to thriller, in particular the sub-genre Psychological thrillers.

Convention Of a Psychological Thriller

Characters are no longer reliant on physical strength to over come their british enemies (which is often the case in typical action- thrillers), but rather are reliant on their mental resources, wether it be battling wits with a formidable opponent or by battling for equal equilibrium in the characters own mind.
The suspense created by psychological thrillers often comes from two or more characters preying upon one another's minds, either by playing deceptive games with the other or by merely trying to demolish the others mental state.

Introducing the group members!

Hello, i'm Sadie!
Subjects: Media Studies, Religious Studies, English Literature and Sociology
Favourite Film: Miss Congeniality/Elf
Favourite Music: Katy Perry/Jessie J
Favourite Comedy: Russell Brand/Alan Carr/Sean Lock
Favourite Meal: Anything from T.G.I Fridays!

Hello, I'm Jade :)
Subjects: Media. photography, Sociology And Communication and Culture.
Favourite Film: Hangover, Hangover part 2
Favourite Music: You Me At Six/ Pixie Lott.
Favourite Comedy: Lee Evans/ Russell Howard
Favourite Meal: Spaghetti Bolognese

Hey, i'm Kat :P
Subjects: Media Studies, Religious Studies, English Literature and Sociology
Favourite Film: Inbetweeners Movie, All Harry Potter's
Favourite Music: Fleetwood Mac/ Bon Jovi/ Boy George
Favourite Comedy: Mrs Brown's Boys/ Michael McIntyre/ Fawlty Towers
Favourite Meal: Steak & Chips :)

Mary Harron
Mary Harron (born January 12, 1953) is a Canadian filmmaker and screenwriter best known for her films I Shot Andy Warhol, American Psycho and The Notorious Bettie Page.[
Born in Bracebridge, Ontario, Canada,[2] Harron grew up with a family that was entrenched in the world of film and theater. Her father, Donald Harron, is an actor, author, director, comedian, and writer. Harron’s first stepmother, Virginia Leith, was discovered by Stanley Kubrick and acted in one of his first films. She also had featured roles in other movies such as the 1956 version of A Kiss Before Dying and The Brain That Wouldn't Die. Leith's brief acting career partly inspired Harron's interest in making The Notorious Bettie Page. Harron’s stepfather is Stephen Vizinczey, a novelist and screen writer, and another of her stepmothers is the singer Catherine McKinnon. Harron’s sister, Kelley Harron, is an actor and producer.
Harron moved to England when she was thirteen and later attended St Anne's College, Oxford University.[3] Whilst in England she dated Tony Blair, who would later become the Prime Minister of the United Kingdom. She then moved to New York City and was part of its 1970s punk scene. She helped start and write for Punk magazine as a music journalist – she was the first journalist to interview the Sex Pistols for an American publication. During the 1980s she was a drama critic for The Observer in London for a time.
In addition to her films, Harron was also the executive producer of The Weather Underground, a documentary looking at the radical activists of the 1970s. She has also worked in television, directing episodes of Oz, Six Feet Under, Homicide: Life on the Street, The L Word and Big Love. She is currently developing a film based on the book Please Kill Me which details the 1970s New York punk scene of which she was so much a part.
She lives in New York with her husband, filmmaker John C. Walsh, and their two children.

David Cronenberg
David Paul Cronenberg, OC, FRSC (born March 15, 1943)[1] is a Canadian filmmaker, screenwriter and actor. He is one of the principal originators of what is commonly known as the body horror or venereal horror genre. This style of filmmaking explores people's fears of bodily transformation and infection. In his films, the psychological is typically intertwined with the physical. In the first half of his career, he explored these themes mostly through horror and science fiction, although his work has since expanded beyond these genres. He has been called "the most audacious and challenging narrative director in the English-speaking world
Born in Toronto, Canada, Cronenberg was the son of Esther (née Sumberg), a musician, and Milton Cronenberg, a writer and editor.[3] His family has been described as "a nurturing middle class family."[4] He began writing as a child and wrote constantly. He attended high school at Harbord Collegiate Institute. A keen interest in science, especially botany and lepidopterology, led him to enter the Honours Science program the University of Toronto in 1963, but he switched to Honors English Language and Literature later in his first year. Cronenberg's fascination with the film Winter Kept Us Warm (1966) by classmate David Secter sparked his interest in film. He began frequenting film camera rental houses, learning art of filmmaking and made two 16mm films (Transfer and From the Drain). Inspired by the New York underground film scene, he founded the Toronto Film Co-op with Iain Ewing and Ivan Reitman. After taking a year off to travel in Europe, he returned to Canada in 1967, graduating from University College at the top of his class.

http://youtu.be/N-H0Lw2OwEQ