Thriller Shoot day

The day before our shoot I looked Cornhill over for what felt like the 100th time to make sure that our main shoot locations were adequate by setting up the bag and contents of the bag that we needed for the following day. Waking up on the morning of our shoot day was like any other day, I felt nervous in a good way as I wasn't entirely sure on how I would find the experience. On arriving at school on the morning of January 29th, myself, Kinglsey and Tyler headed up to the studio to collect our equipment. Sony NX5 camera, tripod and sound equipment. At 10 o'clock we headed over to Cornhill Manor, where we would be shooting. Cornhill was looking as expected and as it was during my last visit which set me in positive spirits for the rest of the day. At 10:15am our lead actor in our Thriller opening title sequence, Simon Hudson arrived. On his arrival we all immeidiately set up what we needed for a first scene in which Simon is packing up a bag ready for departure. We added a few more shots from within the bag than we intended which is a plus as I think that these shots allow the audience to connect with out thriller far more. As we progressed, our work became more fluid and we began to work better together. On shooting the sequence at which our main charecter retrieves the hard drive, we decided to make best use of the ceiling tiles avaible to us. Therefore we shot the same sequence from extreme close up, to wide shot and even to placing the camera inside the ceiling to gain a completely different view of the action. Simon helped us a lot as he was able to provide direction on improving a story through shot organisation and by suggesting that we add certain shots. This enabled us to work with him to obtain the best shots that we could in the day. The fire escape sequence presented us with potential problems due to the fact that Cornhill does not have a clear fire escape that connects a clear escape route, however we worked arround this by shooting what we did have, and cutting the shots approprietly. The last shots that we took before lunch simply involved Simon driving away in his car to show his escape from the men that are after him. At 12:30 we left for Lunch and returned at 1:20, at which time Ted Jackson and Adam Grant joined us. Their task was simple, to arrive in a car and proceed to inquire about our man at the hotel reception. They would then walk up the stairs to room 17, only to find that our man was no where to be seen. This however took most of the afternoon as we took many shots from every different angle, for example, from down low to up high, from behind, to infront and so on. This enables us to have a choice in which shot to use when we come to edit our thriller. Throughout the shoot day myself, Kingsley and Tyler split the jobs up reasonably equally with filming, directing and moving things around. I feel that my directing went particularly well as I saw it to be clear and direct with no real questions needing answering. The entire day went very smoothly with the shots of the hard drive being retrieved going very well, which I very much look forward to seeing when it comes to the edit. I most enjoyed shooting the scene in which Simon, our actor drove away at speed down the drive at Cornhill. My production group worked incredibly well together as a group as we all understand what are jobs where and when to do them, with no mistakes or hiccups.

2nd Draft storyboard

Location problems and storyline change

On discussing our location, we initially wanted our guy to be in a modest sized house with a front door and a back door. However, this became a problem as getting a house that fitted our criteria was too difficult so we have now adapted our idea. Now we are shooting in Cornhill Manor in Ewhurst, this is easier for us because it used to be a hotel and the room numbers and signs still remain.

Our idea now involves, instead of in a safe, the hard drive being hidden inside a ceiling tile. In terms of the storyline, when are two men in the car arrive they can go into the 'Hotel' and ask about the main charecter at reception. This would then prompt the men to go up to his him, which he has now left. Our man would then leave the building from an alternate exit (potentially a fire escape which would sound an alarm- alerting the two men of his escape), to then get inside his car and drive away. This would suggest that our man has been underestimated by these two man.

Cornhill Manor

The Stepfather opening title sequence

This opening title sequence from the stepfather is not entirely useful in helping me with ideas for my own opening title sequence. However it was useful to show me that something as ordinary as dying your hair, or shaving can be made to look so creepy just by organising utensils in a straight line and by adding some sinister music.

Appologies for the voice over at the begining of the clip.

1st Draft Storyboard

Analysis on the use of sound from 'Kill Bill Vol. 2' in the Beatrix buried scene

On watching this clip from Kill Bill Vol. 2 for the first time, I watched it with my eyes opening. My opinion of it afterwards was that it is an entertaining scene to watch with good music, good loud breathing, hammering and every single detail highlighted and made clear to the audience. However, I then watched the clip for a second time with my eyes closed. Had I not already seen the clip then I may not have worked out exactly what was happening in the scene, but even so the sound becomes far more apparent to you. It showed me that without sound and music to reinforce the scene then it simply becomes something that conveys no urgency, emotion or feeling whatsoever.

In terms of actual sounds, with my eyes closed the only sounds to be heared are crashes of dirt and mud piling on top of the coffin, this is followed by the dribble of debris. After each crash all there is to be heard is Beatrix's heavy breathing. In this scene, just by using a breathing and not uttering a single word, the sounds that she makes convey emotion from deep heavy breathing to screams that almost drown out into an insane laugh and also her hyterical gasps of exasperation. As the crashing stops we hear a car drive away, and one this sound drifts out the only sound to be heard is of her breathing and moving about and this is where the music starts. The music sounds to reinforce the idea that she is escaping, which is why it is so upbeat which seems unsual when contrasted and compared to the darkness of content of the scene itself.

Kingsleys post on Zathura opening title sequence :- research

Cooper initially approaches this title sequence in a retro sci-fi manner, and then seamlessly switches between live action and animated shots. The sequence is done very cleverly and it's  music certainly sets the tone for the rest of the movie. The music, composed by John Debney, paired with the excellent visuals sets the audience up for the adventure ahead. Cooper usually focuses on pairing they typography with the style of the film and Zathura is no exception. The typography works with retro style of the film. The credits are centred and easy for the audience to read, they stay on screen long enough to read but not long enough to detract from the experience that the title sequence provides.

Sherlock Holmes' Epic Forrest Chase :- Research for our thriller running scene

Kingsley and Tyler had the same, coincidental idea of taking inspiration
from a scene from Sherlock Holmes as that shows a chase scene through a
forest which is much more similar to what our running

scene would look
like. For example, the way that in the editing process of this film the director has decided to apply slow motion moments on important actions. I.e when the man picks up the gun or when a bullet skims past Jude Laws jacket.