Storyboard Animation

SL GP EA

Shotlist

Colour & Aesthetics

In 'We Need To Talk About Kevin', her flashback imagery is brutally evocative of the gorier parts of the film, and so the colours and the feelings they evoke make the aesthetics particularly powerful.

The difference between dream and reality should be heightened so that tone is established clearly through colour.

The dream sequence should be full of light and a covered with a gauzy veil of warm, almost psychedelic colour. It will seem as if all senses are heightened, and so Margot's dreamy encounter with Eva is still intense.

However the awake aspects of Margot's life are dull in contrast, possibly tinged with monotonous, gloomy blue. 

Character Costume: Eva

Eva is a curious traveler, and loves the exotic and luxurious. She wear floral maxi skirts, silk scarves with chunky beaded jewellery. She loves to tell people her occult stories on a Thai beach, or about the life affirming hike to Macchu Picchu. But now Eva is back in England, and the colour and excitement she brings to Margot's life is intoxicating for both of them.

Character Costume: Margot

MARGOT

She wears vintage, loose fitting dresses and shirts with grungey outerwear and ratty plimsolls. Her long hair is unkept but straight, and the minimal make-up she wears hardly covers up the bags under her eyes.



             

Graphics Research: TITLES

The title sequence will commence as Margot gets out of bed and starts to go about her day. Graphics should hover around her in different corners to of the screen, so as to be noticeable but not the main attraction. The font should not be garish in anyway,  but instead minimalistic, in white Bell MT font. The font is simple and straightforward, but still somewhat feminine with it's soft curves.

The main titles of Dreamcatcher (2003) and Red Lights (2012) also have a simple concept and font design, but manage to blend and compliment the background whilst not being a tangible part of it. 

I also like the tinged colour palettes of both sequences as they suggest a darker substance for the film.

Fathom (1967) has a much brighter colour palette but it's placing of the titles around the movement of the character is effective.

Sound Ideas

DREAM SEQUENCE
Reference to Marie Antoinette party scene - sounds are 'underwatery' and distant, but hauntingly beautiful (hopefully). This sound could be achieved with wine glass sounds.

The bedroom and home sequence would consist mainly of diegetic noises, i.e. the birds in the morning or the running water through the tap.

BP SL

Georgina Panton - Foley Sound

The opening to collateral effectively shows what i want to do with the sound during the scenes in the house and the street. There is still some atmospheric sound of the airport, but the sound of the footsteps has been amplified so you can hear them above the other diegetic sound. This creates a good effect as it highlights the character Tom Cruise is playing and draws the audience attention to him and what he is doing. If we were to use this in our opening, it could highlight the importance of Margot's character and sound good.

Character - Actors

MARGOT:

EVA:

Character Reference

MARGOT - Margot's personality and mannerisms draw reference from neurotic and unstable intellectuals such as Winona Ryder from Girl Interrupted, or Natalie Portman's character's distorted relationship with her mother and subsequent need for attention in Black Swan. Both characters are insular and affected, and as the films progress this is also noticed by other surrounding characters who start to treat them differently.

However aesthetics wise we would want to resemble the gamine, pale and ghostly blond look of actresses such as Mia Farrow and Sissy Spacek.

EVA - She is the enigmatic. engaging and beguiling counter part to Margot's character - The Angelina Jolie of Girl Interrupted or Mila Kunis of Black Swan. We wanted her to have dark and tan colouring so she could be a visual opposite to he character of Margot; another reference to the bipolar aspect of our film.

Film Preparation: LOCATION/SETTING ANALYSIS

The Tube: We chose Fulham Broadway station as the setting for the transportation sequence. We will have our character waiting for the tube against the pale yellow wall. We will then have shots of her on the tube itself.

The Streets: The film will include a montage sequence around the streets of Fulham as the character of Margot walks to the tube. Hopefully we won't need to use lighting as the cold winter light will be sufficient.

The Park: This will be the backdrop of our dream sequence. We like the autumnal colour variation and sparse vegetation.

The Bedroom: This will be where our main character awakes, and so is our most intimate setting. It is quite small and cosy, plus the chaotic arrangement of books and records adds some feeling of her personality and interests.

SL

Park: The park setting will be used for the dream sequence. Shots for this will alternate between wide shots covering the entire park, and close ups of details such as leaves and grass, while also incorporating the character of Eva throughout this.

Bedroom: Once the dream sequence has ended, the setting will immediately move into the bedroom. Though the dimensions of the room are fitting, the decor and details of it will be changed from how it appears in the photos. This will give the effects of the room being emptier and colder, with  mainly white details contrasting between the colours of records and books.

Streets/Tube: The character of Margot will leave her house after the bedroom setting and the camera will follow her in a montage-like sequence of her journey through Fulham. This will include mainly wide shots of her as she walks through clouds, but close ups while she is on the tube to give the audience a strong sense of the claustrophobic atmosphere.

GP

Film Preparation: LOCATION/SETTING

Tube Location - SL

I particularly like the architecture of Fulham Broadway, with its clear roof letting in the light. It is quite spacious and we would have a few shots of Margot idly waiting for her train, but checking her watch nervously, as if she is late for something.

The inside tube shots will be quick mid and close up shots, just to show the process of her mysterious journey but not linger on it.

Street Location - GP, SL, ES

Park Location - ES

Bedroom Location - GP

As Margot wakes up, we will focus on small objects such as her pills - more clues to her mental state.

For the bedroom we wanted to have a mirror, as a shot of her reflection will symbolise the duality of her personality. We wanted her to be a curious and creative person nonetheless, and so her chaotic array of books and records tells the viewer something about her character.

 Margot will run down this staircase and we could show this with continuity editing.

 The bathroom layout is simple yet tight  - ideal for our 'intimate' morning routine. The colours are an agreeable tone and can be manipulated with effective lighting.

Film Preparation: NARRATIVE

2 Minute Opening:

• The segment opens with a subtle dream sequence - the main character, Margot, is walking through a park, it is misty and blue with early morning frost. She then sees the figure of woman, the character Margot, in the distance. This will introduce Eva had a character of importance, as she will play a large role in the rest of the film. Yet at the moment her identity is ambiguous. The viewer will not be aware if this a dream or reality. 
• Margot then awakes. This sequence will be of her getting dressed and ready for the day in her dark bedroom and the harshly-lit bathroom. These shot wills be close-ups and act as an introduction to her as the main character. 
• The remainder of the scene will follow her journey around the town, as she takes the tube, set to an ambient soundtrack. Extreme long shots will establish background and location. In the scene she will travel from her green suburban neighbourhood into the grittier city centre, and culminate in her walking into a hospital building/her therapist's office. 

General Overview of plot:

• Margot is a seemingly-normal student, but her aloof nature hides a a burgeoning mental disorder. When a distant family friend comes to say, Eva, comes to stay, Margot becomes obsessed with her, and their relationship spirals out of control. 

SL

     "The film opens with an apparent dream sequence. This will include various shots of nature interspersed with shots of the female secondary character. This will progress, become more frantic and abstract as it continues until the cut to a woman immediately opening her eyes, introducing the main character.
     The second sequence following the woman in reality as she awakens and wonders around her room. Following her through her morning routine, certain aspects will be highlighted through tight shots of her medication on tables and other features of her room establishing her different characteristics. This will continue until she finally walks out the door into a busy street.
     Finally, there will be a short sequence of the woman walking through crowded areas of London such a Fulham Broadway, following her through her journey on the tube/bus. The shots will mainly focus on her while also including some wider shots of urban area. This sequence will finally end with her reaching an apparent psychiatric/ therapists office and entering, though the camera will not follow her inside before the titles."

GP

Certification of a Thriller

A 15 rating would be favourable, as most of our demographic would in the 14-24 age range, and it would be unwise to the cancel out at lot of that demographic with an 18 rating. Although they would still be able to watch it online etc., a higher certification would affect movie attendance or video rental sums.
Our film will mainly be a psychological thriller, with substance abuse and sex scenes providing the need for a 15 rating. Gore and violence will be limited.
Similar films with the same rating are: Girl Interrupted and Black Swan

"The Package" Editing Task

Proposal Ideas: MUSIC

The soundtrack should have a slightly spacey or eerie quality, yet set a good pace for the scene. The songs I have listed have a good example of the instrumentals I would like to use.

Proposal Ideas: INSPIRATION

MYSTERIOUS SKIN 

REQUIEM FOR A DREAM

MEMENTO

LES DIABOLIQUES DREAM SEQUENCE
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Proposal Ideas: LOCATION AND SETTING / NARRATIVE

The scene starts with a surreal but lucid dream sequence, which I hope to create effectively with distortion of colour and shape, and thus create a surreal opening to my film and introduce the style and genre.

I would like to do some close-ups of the character within her own bedroom, to acquaint the viewer with her on an intimate level. Following that, in reference to films such as Requiem for a Dream, Donnie Darko, Drive and The Beach, the scene follows her in transit around London. This will introduce and familiarise the setting of the film, as well as creating mood.

Location-wise, I want to find areas that have a mix of old and soft style buildings to contrast with rough, emotionless urban sprawls, with this binary opposition suggesting that the character too has a split and contradictory personality. I like the idea of light and darkness in a complimentary yet oppositional combination, and this could be demonstrated with the transition from the character's dark and shadowy bedroom into the bright outside world half way through the scene.

Proposal Ideas: CHARACTER

A girl aged 16-20 of English or European origin. She should be beautiful in a peculiar way, not too ethereal or unique, but pale and interesting, and she should definitely not have a wholesome or inviting image.
Actress that would possibly suit her look are Sophie Lowe or Emily Browning.

She lives in an urban/suburban environment with a single but successful mother who works a lot. Thus she has find comfort in loneliness, and sometimes feels removed or socially awkward amongst her friendship group. She is stubborn, but easily becomes obsessed with enigmatic or charismatic figures.


Characters in other films I would link to her to are: Winona Ryder's character in Girl, Interrupted. Donnie Darko, Emily Browning in Sucker Punch or Elizabeth Olsen in Martha Marcy May Marlene.