Final draft of storyboard

Storyboard final draft

• This is the final draft of our storyboard we have amended the minor problems from our previous storyboard.
• Therefore we will be looking to film as soon as possible.

Storyboard 1

From our first storyboard we learnt that we needed to make some amendments:
Storyboard first draft

• There were a couple of scenes we had missed out on in the sequence there was some confusion over how the fight started between Frankie and Tommy. 
• In some of the shots the pencil lines were quite light and wouldn't have shown up on the blog so we had to go over them and add more dark. 
• Finally the sound and dialogue was not added the every scene so we had to extra sound/dialogue added also to the storyboard.

These changes have now been implemented and we have drawn up our second and final draft.

Script Number Three

INT.TOMMY'SROOM.EARLYMORNING

TOMMY paces around his flat, with a nervous look on his face. He waits for the phone call that will make him or break him. TOMMY'S phone rings.

FRANKIE

"Meet me at the alleyway near ravenscourt park, i have the gear. Do you have the money?"

TOMMY

"Yeah, of course i do, ill be there soon"

TOMMY walks towards a suitcase in the corner of his flat, picks it up and closes it. He proceeds to walk out of the flat.

EXT.ALLEYWAY.EARLYMORNING

FRANKIE, holding a large suitcase and pacing up and down, waits for TOMMY, with an anxious look on his face. We are shown TOMMYS shoes as he walks towards the alleyway.

Tommy arrives at the alleyway and shakes Frankies hand.

TOMMY

"Hello, mate. I have the money for you"

FRANKIE

"Good"

FRANKIE and TOMMY exchange briefcases. FRANKIE and TOMMY both check the suitcases.

FRANKIE

"THIS MONEYS FAKE! Do you think we're stupid?!"

Frankie grabs Tommy and a fight breaks out. Tommy pulls out a knife and stabs Frankie. He runs from the alleyway, taking both suitcases. 

INT.TOMMYSROOM.EVENING

TOMMY receives a phonecall. He walks over to the phone and picks it up.

TOMMY

"Hello"

ANONYMOUS VOICE

"You don't know who you've messed with, son. Did you really think that we werent going to realise that the money is fake?!"

TOMMY

"I....I don't know what youre talking about"

ANONYMOUS VOICE

"Stop playing games with us son! Youre a fool, and you will pay for what youve done. No one rips us off, NO ONE!"

TOMMY

"Us? Whos us? Fra Frankie, is that you?"

ANONYMOUS VOICE

"Frankies dead, and you will be dead soon too."

The other end of the line cuts out, and Tommy puts the phone down.

A lot has been changed from the previous script. The script has been lengthened, and extra dialogue has been entered, so we get to know Tommy's character better, and understand his situation more. Also, the reason for the fight has been made clear- the fake money, to help us further understand the situation.  

Analysis of Thriller Sequences

Psycho (1960):

Possibly Alfred Hitchcocks most famous thriller film is 'Psycho', which was produced and released in 1960, in black and white. The sequence starts in a bathroom, with a woman flushing a piece of paper down a toilet. This raises questions, from the audience, to what the piece of paper was, and why (according to the close up shot of the paper being flushed down the toilet) it seems to be so important. After this, we see the woman enter a shower. This helps calm the audience down and helps to build up the 'scare-factor' of what happens next. As the scene goes on we see, through the showers curtains, the silouette of another character entering the bathroom. This helps add suspense and drama. We are shown the new character approaching the shower through the curtains, and the character ripping the curtains open. This scene is accompanied by a loud, high pitched score, designed to scare the audience. After the new character opens the shower curtains, we are shown the woman being murdered (by being continuously stabbed) through a series of cross-cuts and close-ups. Finally, the murderer quickly leaves the room, and we are shown the woman collapsing to the shower floor.

We must be careful about using Hitchcocks techniques. If we start to copy his films we will end up making our film a horror, which we mustn't do.

Existing Thriller Synopsis'

Se7en (1995):

In an unidentified city of constant rain and urban decay, Detective William Somerset (Morgan Freeman) is preparing to retire and leave the horrors of the city. Before he does so he is partnered with Detective David Mills (Brad Pitt), a cocky, young and short-tempered cop from Springfield, a comparatively small town. The two investigate the murder of a highly obese man (Bob Mack) who was fed spaghetti until a kick to his stomach burst him open. Somerset investigates the murder while Mills is given the murder case of Defense Attorney Eli Gould (Gene Borkan), with GREED written in Gould's blood on the floor. Gould was forced to carve a pound of flesh off of his body, and subsequently bled to death. The police captain gives Somerset an evidence container with three slivers of a plastic-like material found in the stomach of the obese man; which he was forced to consume along with the spaghetti. Going to the victim's house, Somerset finds three groove marks in front of the refrigerator and finds that the plastic-like slivers fit into them perfectly. He finds the word GLUTTONY written behind the obese man's fridge and theorizes that a serial killer is basing his crimes on the Seven Deadly Sins, with five more to go.

The Dark Knight (2008):

Batman raises the stakes in his war on crime. With the help of Lieutenant Jim Gordon and District Attorney Harvey Dent, Batman sets out to dismantle the remaining criminal organizations that plague the city streets. The partnership proves to be effective, but they soon find themselves prey to a reign of chaos unleashed by a rising criminal mastermind known to the terrified citizens of Gotham as The Joker.

Script Number Two

INT.TOMMY'SROOM.LATENIGHT

TOMMY paces around his small, secluded flat waiting for the phone call that will make him or break him. TOMMY'S phone rings.

FRANKIE

"Meet me at the alleyway near ravenscourt park, i have the gear"

TOMMY

"OK, ill be there soon"

TOMMY picks up a wad of £20 notes and walks out the door.

EXT.DARKALLEYWAY.LATENIGHT

FRANKIE, holding a large suitcase and pacing up and down, waits for TOMMY.

TOMMY arrives and pulls a large wad of money out of his coat pocket, and hands it to FRANKIE.

An argument breaks out over the amount of money TOMMY has brought. The argument continues, and leads to a fight. TOMMY beats FRANKIE unconciouss and takes the suitcase, and his wad of money back. He runs away from the alleyway.

INT.TOMMYSROOM.MORNING

TOMMY receives a phonecall.

ANONYMOUS VOICE

"You don't know who you've messed with, son. You'd better leave £100,000 and the suitcase you took in the alleyway near Ravenscourt park by tomorrow morning, or you will die."

A lot of the script has been changed from the previous post. Firstly, the audience have been given more information about the meeting between Tommy and Frankie, and how the argument broke out. We have changed this aspect of the script because it adds more suspense to the opening scene, and provides a solid foundation for a cliffhanger later on. Also, the 'anonymous voice' has been edited to give the audience a deeper view on Tommys situation.

Conventions of a Thriller Genre

KEY Cinematogriphic Techniques

• Crosscuts
• Quick cuts
• Long shots / Extreme long shots
• Dramatic scores

Narrative Techniques

· Enigma Codes iswhere mysteries and questions are set up in the narrative. The audienceanticipate the enigmas being solved

· Action code iswhere an event on screen leads the audience to anticipate a subsequent action which also builds tension and excitement.

· Dramatic irony iswhen the audience knows something that the character on set doesn’t know for example a woman ready to kill a man walking up the stairs however he doesn’tknow that the woman is at the top of the stairs. Contains elements of omniscience.

· Red herring is when the audience is fed false or misleading information.

The purpose of an sequence is to establish the mood and visual character of a film , to introduce to all or some of the following elements:
Characters:

In London to Brighton we are introduced to the mother and daughter straightaway,

Locations:

 these are two of the main settings/location of the film the train station obvioisly the main set as the mother and daughter are en route to Brighton.

Narrative/Plot

The narrative is clear from the opening sequence. It is evident that the mother has done something wrong and in doing so she looks for safety in Brighton.

Themes

Violence is a them in london to brighton. from the mothers apperence we can connote that she may have beeen in a fight. this is denoted by her black eye and graized lip.

Genre

London to Brighton is a  crime/drama Thriller genre . in this scene the thriller genre is shown at best with the daughter worried who is on the other side of the door. With the audience left in suspence the girls face further develops this.

Synopsis

The meaning of Synopsis : A brief outline or general view, as of a subject ,written work or film ; an abstract or a summary.

Existing Synopses of films

London To Brighton

The picture opens with two women on the lam: middle-aged hooker Kelly, whose battered face discloses a recent thrashing, and the preteen Joanne . While the two board a train bound from London to Brighton in the middle of the night, the vile thug Stuart Allenorders Kelly's pimp, Derek, to deliver the two women within 24 hours. Kelly, it seems, originally supplied Derek with runaway Joanne to satisfy the request of a client, Duncan, for underage girls. Duncan later turned up dead, and now Kelly is a prime suspect.

Seven

The film concerns Det. William Somerset, a homicide specialist just one week from a well-deserved retirement. Every minute of his 32 years on the job is evident in Somerset's worn, exhausted face, and his soul aches with the pain that can only come from having seen and felt far too much. But Somerset's retirement must wait for one last case, for which he is teamed with young hotshot David Mills , the fiery detective set to replace him at the end of the week. Mills has talked his reluctant wife, Tracy, into moving to the big city so that he can tackle important cases, but his first and Somerset's last are more than either man has bargained for. A diabolical serial killer is staging grisly murders, choosing victims representing the seven deadly sins. First, an obese man is forced to eat until his stomach ruptures to represent gluttony, then a wealthy defence lawyer is made to cut off a pound of his own flesh as penance for greed. Somerset initially refuses to take the case, realizing that there will be five more murders, ghastly sermons about lust, sloth, pride, wrath, and envy presented by a madman to a sinful world. Somerset is correct, and something within him cannot let the case go, forcing the weary detective to team with Mills and see the case to its almost unspeakably horrible conclusion.

Saw

One of two men chained up in a mysterious chamber. The other, Dr. Gordon, like Adam, has no idea how either of them got there. Neither of them is led to feel optimistic by the man lying between them dead of a self-inflicted gunshot wound. Together, Adam and Dr. Gordon attempt to piece together what has happened to them and who the sadistic madman behind their imprisonment is.

Analysis of Exisiting Synopeses

Out of the three synopses, London to Brighton would be the most suited for our flim genre. This is because our film will be based around crime , also this helped us create our own synopsis for our film also. The other two synopses helped marginally, however , these movies seb-genres do not suit our film.

Certification RESEARCH

The BBFC endeavours to classify submitted works in one of the following categories:

 A ‘U’ film should be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.If a work is particularly suitable for a pre-school child to view alone, this will be indicated in the Consumer Advice.No discriminatory language or behaviour unless clearly disapproved of. No references to illegal drugs or drug misuse unless they are infrequent and innocuous, or there is a clear educational purpose or anti-drug message suitable for young children.Scary sequences should be mild, brief and unlikely to cause undue anxiety to young children. The outcome should be reassuring.Imitable behaviou No potentially dangerous behaviour which young children are likely to copy. No emphasis on realistic or easily accessible weapons.Infrequent use only of very mild bad language.Occasional natural nudity, with no sexual context.Mild sexual behaviour (for example, kissing) and references only (for example, to ‘making love’).While problematic themes may be present, their treatment must be sensitive and appropriate for young children.Mild violence only. Occasional mild threat or Menace only

Unaccompanied children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children.Discriminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of or in an educational or historical context.  Discrimination by a character with which children can readily identify is unlikely to be acceptable.References to illegal drugs or drug misuse must be innocuous or carry a suitable anti-drug message.Frightening sequences should not be prolonged or intense. Fantasy settings may be a mitigating factor.No detail of potentially dangerous behaviour which young children are likely to copy. No glamorisation of realistic or easily accessible weapons.Mild bad language only.Natural nudity, with no sexual context.Sexual activity may be implied, but should be discreet and infrequent. Mild sex references and innuendo only.Where more serious issues are featured (for example, domestic violence) nothing in their treatment should condone unacceptable behaviour.Moderate violence, without detail, may be allowed, if justified by its context (for example, history, comedy or fantasy).

Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories areawarded where the material is suitable, in general, only for those aged 12 and over. Works as classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.Discriminatory language or behaviour must not be endorsed by the work as a whole. Aggressive discriminatory language or behaviour is unlikely to be acceptable unless clearly condemned.Any misuse of drugs must be infrequent and should not be glamorised or give instructional detail.Moderate physical and psychological threat may be permitted, provided disturbing sequences are not frequent or sustained.Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied, or appear pain or harm free.  Easily accessible weapons should not be glamorised.Moderate language is allowed. The use of strong language (for example, ‘fuck’) must be infrequent.Nudity is allowed, but in a sexual context must be brief and discreet .Sexual activity may be briefly and discreetly portrayed. Sex references should not go beyond what is suitable for young teenagers. Frequent crude references are unlikely to be acceptable.Mature themes are acceptable, but their treatment must be suitable for young teenagers.Moderate violence is allowed but should not dwell on detail. There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if justified by the context. Sexual violence may only be implied or briefly and discreetly indicated, and must have a strong contextual justification.

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.The work as a whole must not endorse discriminatory language or behaviour.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.Strong threat and menace are permitted unless sadistic or sexualised.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.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 may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.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.No theme is prohibited, provided the treatment is appropriate for 15 year olds.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.

No-one younger than 18 may see an ‘18’ film in a cinema.No-one younger than 18 may rent or buy an ‘18’ rated video.line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, at ‘18’ the BBFC’s guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Exceptions are most likely in the following areas:where the material is in breach of the criminal law, or has been created through the commission of a criminal offencewhere material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assaultwhere there are more explicit images of sexual activity which cannot be justified by context. Such images may be appropriate in ‘R18’ works, and in ‘sex works’ (see below) would normally be confined to that category.In the case of video works (including video games), which may be more accessible to younger viewers, intervention may be more frequent than for cinema films.Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex and health, explicit images of sexual activity may be permitted.Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed ‘18’. Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category. Material which is unacceptable in a sex work at ‘R18’ is also unacceptable in a sex work at ‘18’.

Script

INT.MANSROOM.LATENIGHT

TOMMY receives phone call confirming date and location for collection of 'gear'. TOMMY picks up wad of money from table and walks out door

EXT.DARKALLEYWAY.LATENIGHT

FRANKIE, holding a suitcase, waits for TOMMY.

TOMMY arrives and an argument breaks out. TOMMY beats FRANKIE unconciouss, and takes suitcase.

INT.TOMMY'SROOM.MORNING

TOMMY receives phone call

Anonymous voice

You have 24 hours to return the suitcase and an extra £10,000. Or you die!

Sub-Geres Of Thriller

Sub-Genres of Thriller:The Thriller genre can include the following sub-genres within Thriller movies which target a large array of audiences.
Action Thriller
An Action Thriller uses physical action to create suspense within the film. Like a traditional Action film, this sub-genre will often have continuous motion and action including physical stunts, chases, fights, battles, and races. Often, these scenes will contribute to the overall sense of danger that the protagonist is facing.
Examples: Die Hard, Kill Bill Vol. 1, The Bourne Identity.

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Crime Thriller
Crime Thriller film is a sub-genre that incorporates the suspenseful aspects of a thriller with a crime film plot. This sub-genre's plot usually centers on a serial killer, murderer, robbery, or manhunt. As opposed to traditional crime films, the storyline focuses both around the criminal and the protagonist. Crime Thrillers use both action and psychological aspects to build tension and suspense.
Examples: The Usual Suspects, The Fugitive, Jagged Edge.

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Film-Noir
Film Noir is not simply a sub-genre, but rather a term for a distinct, stylistic type of crime-drama or thriller that was popular throughout the 1940s and 1950s. Film-Noir is characterized by a black-and-white style with stark lighting effects. The main character is usually a cynical hero. Film-Noir relies on a narrative voice and various flashbacks to explain the intricate plot.
Examples: Sunset Boulevard, The Maltese Falcon, Sweet Smell of Success.

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Psychological Thriller
In addition to the traits of a regular Thriller, a Psychological Thriller incorporates elements of drama and mystery film. The suspense in this sub-genre comes from the mind, rather than from a psychical threat. The protagonists in Psychological Thrillers must rely on their mental resources to solve the situation. Because of their nature, many Psychological Thrillers cross over into the Horror genre.
Examples: Memento, Rear Window, Taxi Driver.

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Science Fiction Thriller
Science Fiction Thriller incorporates hypothetical, science-based themes into the plot of the film. Traditionally, a Science Fiction film will incorporate heroes, villains, unexplored locations, fantastical quests, and advanced technology. These elements can be used in a Science Fiction Thriller to create anticipation and suspense. Often, this sub-genre will explore the “future-gone-bad” theme, including plots that revolve around alien invasions, dystopian scenarios, and super-diseases.
Examples: Aliens, Inception, District 9.

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Religious Thriller
Religious Thriller film incorporates religious themes, including religious questions, ceremonies, and objects. Though some films can revolve around a specific church, many Religious Thrillers include supernatural experiences not pertaining to a certain religion. Exorcisms, demon possession, and church cover-ups are typical themes of Religious Thrillers.
Examples: The Devil’s Advocate, The Ninth Gate, The Da Vinci Code.

  
    

London to Brighton Opening Sequence Analysis

As the sequence begins the production and funding titles appear animated at the start. Non-Diegetic spund effects are used to attract the audience attention. a location and time then appears over black '3:07am'. we can connote that at that London is very dangerous with stereotypical 'alcoholics or thugs' out. This is denoted by the early time of the morning.

The camera instantly cuts to a medium shot of a woman and girl rushing into a toilet. The camera then cut to a close up of the womans face , we can connote that this woman maybe in trouble , denoted by the black eye on her face, however, also by the aggressive kintetic movement of the camera. A dialogue is then exchanged between the mother and the daughter with close ups of their faces. The girl is seen to be crying and her mother pleads for her to stay locked in the toilet. The frantic kinetic camera movements connotes that the mother is desperate and in a hurry.

As the sequence continues the camera is then shot into a point of view shot as a car pulls up towards her. we can connote that the woman maybe a prostitue , this is denoted by her cheap clothing and stereotypical short dress. The camera then cuts to a close up of a lock which is then cross cuts between the lock and giel. From the close up of her facial expressions she is worried and timid. diegetic banging sounds of the door can be heard , as the girl opens the door it is her mother. They exchange diegetic dialogue and she whisks her daughter away from the toilet and takes her to a train station.

The camera cuts to a long shot of the train station , then cuts to a long shot of the train departing the platform finally cuts to a medium shot of the mother and daughter entering the carriage. As the sequence ends the camera then cross cuts between the mother and daughter as they exchange dialogue. the daughter aks "are we going to jail" this may connote that they have been up to no good and leaves the audience on a cliffhanger as it enters the next scene.

Thriller GENRE

Thriller Genre
Thriller is a very broad genre, it is characterized by fast pacing, frequent action and a resourceful hero. However there is no specific setting for a thriller, it is such a wide genre that has diversese sun-genres from crime thrillers, spy thrillers all the way to techno thrillers, medical thrillers and even erotic thrillersThese help todivide up the genre as a whole and easily allows us to classify each specific film easily.
Thriller are films that are known to provoke intense excitement, suspense, a high level of anticipation, ultra-heightened expectation, uncertainty, anxiety, and nerve-wracking tension. Strictly speaking the genre can be defined as a film that relentlessly pursues a single-minded goal. Thriller films are meant to continually have the audience on the edge of their seats as it leads up to a nail-biting climax.
Due to some of the feelings that evoke from the thriller genre it can often get confused with a very similar horror genre. this often leads to the hybrid genres in which both types of genre are intertwined together.

History of the Thriller Genre - Alfred Hitchcock

Many people believe Alfred Hitchcock to be the acknowledged master of the thriller genre which he virtually invented,Hitchcock was also avtechnician who deftly blended sex, suspense and humor. His filmmaking career began in 1919 illustrating title cards for silent films at Paramount's Famous Players-Lasky studio in London. There he learned scripting, editing and art direction, and rose to assistant director in 1922. 

An early example of Hitchcock's technical virtuosity was his creation of "subjective sound" for Blackmail(1929), his first sound film. In this story of a woman who stabs an artist to death when he tries to seduce her, Hitchcock emphasized the young woman's anxiety by gradually distorting all but one word "knife" of a neighbor's dialogue the morning after the killing. Here and in Murder! (1930), Hitchcock first made explicit the link between sex and violence.

Synopisis

A synopsis is a brief, or condensed, statement giving a general view on a subject. For example, a blurb on the back of a book. A synopsis of a film tends to inform the audience of the nature of the film, and, generally, end on a cliffhanger to get the audience hooked.

Idea Number One:

(Crime)

A young man caught up in crime see's an opportunity to become a titan in the world of drug-smuggling. However, he doesn't realise that he's messing about with one of Britains biggest

criminal organisations, and when a deal goes wrong, he has to fix it, quickly, or pay with his life.

Idea Number Two:

(Action)

Johnny is fed up. He's been bullied for 4 years now, for not being as mentally able as the other children in his school. He feels that drastic measures have to be taken! Will Johnny choose to forgive and forget, or will everything end up in a bloodbath?

Idea Number Three:

(Espionage)

Christopher, an expert hacker, hacks in to the UK's Ministry of Defence database, and puts the world on the brink of war. Little does he know, he's been found out by MI5, and they want to dispose of him before the world discovers his identity. Will Christopher get away, or will he be silently murdered by the worlds leading espionage organisation?

Saw - Opening Sequence

As the film opens we see the funders of the film, these are shown with disturbing noises to give an impression on how the film is going to be almost horrific. After these funders are shown we see the producers of the film this gives some people an idea of how the film is going to be as they may have already seen a film produced by them before. These producers name are in white on a black background so the audience has no idea of how the opening the sequence is going to begin. While these titles are on these is a diegetic sound of water moving, giving us the impression that someone is moving somewhere in water either outside or inside. We then get shown light being moved around water looking like it is shone over a mans face with his eyes closed giving us the impression that he is dead, the title of the movie then comes up to add more mystery to what we have just seen.

After we have seen the title it disperses like water would down a plug whole as it slowly starts to break up and twist. We then get brought back to the light in the water as it moves around we get a sudden burst of the man opening his eyes and gasping for breath as he pulls himself out of the water. He constantly keeps coughing suggesting to us that he has been under the water for some time. We then get a close up of the light being sucked down the plug hole suggesting that it is a keep prop. When the man is out of the bath he gets up and walks into the corner holding a chain attached to his leg denoted by the synchronous sound of chains clinging. The man then screams out for help, then asks if there is anyone there. We can see he is in the dark and from the dialogue we can also connote that he does not know what is going on or were he is. He then says I'm probably dead and straight after we hear a voice saying your not dead. We can connote the man is scared, denoted by the way he quickly spins round and shouts "Who's that?". We then realise the voice is in the same position as the man because he does not know why they are here either.

As the scene progresses the voice says "I think found something", we then get a booming sound for every light that turns on, to emphasise the surprise it is having on the man and also to emphasise the brightness of the light to the man to the audience using sound. We then get a creepy score being played as the mans vision becomes clear to help highlight groosum place he is in. We then get medium close ups of the two men to show the horror one their faces and to show their outfits and how dirty they are connoting they have been through a bad experience before they reached this place. The man we see in chains has short black hair looks quiet young and not in a family. He looks like an ordinary man which leads the audience to wonder why is he here. The second man has medium short hair he is wearing a shirt connoting he is a working man and he looks like he is in his late thirties connoting he has a family with a wife and kids. He also looks ill maybe even drugged, this connotes that it could be how he got here without knowing were he is.

We then gets a mysterious score as the blonde mans eye sight adjusts revealing the other man in the other corner of the room staring back at him. The score then dramatically changes and as this happens we see the men look at the floor in the centre of the room which we cannot see. We then get a paning shot going down away from the dark haired man to a medium close up of a man laying on the floor in a puddle of blood with his half of his blown off. The camera then spins up iron a birds eye view to show the whole mans body with the score getting louder. It then quickly cuts to close ups of the mans head, a tape player in his hand and a gun in the other hand connoting that he killed himself with the gun and what was on the tape was the reason. The two men go to approach the body and then realise that they are chained. The man with the dark hair screams as he trys to break the chain by pulling it, connoting he is stressed and scared that what happened to the dead body on the floor is going to happen to him. The scene then ends with a long shot of the man sitting in the corner and the dead body laying on the floor 0f a dirty place which is connoted to be deserted.

Alfred Hitchcock- The 'father' of the Thriller genre

The acknowledged master of the thriller genre he virtually invented, Alfred Hitchcock was also a brilliant technician who deftly blended sex, suspense and humor. He began his filmmaking career in 1919 illustrating title cards for silent films at Paramount's Famous Players-Lasky studio in London. There he learned scripting, editing and art direction, and rose to assistant director in 1922. That year he directed an unfinished film, No. 13 or Mrs. Peabody . His first completed film as director was The Pleasure Garden (1925), an Anglo-German production filmed in Munich. This experience, plus a stint at Germany's UFA studios as an assistant director, help account for the Expressionistic character of his films, both in their visual schemes and thematic concerns. The Lodger (1926), his breakthrough film, was a prototypical example of the classic Hitchcock plot: an innocent protagonist is falsely accused of a crime and becomes involved in a web of intrigue.

Hitchcock went on to make many 'thriller films', such as 'Notorious', ending his work with the film ''Family Plot', in which two couples are pitted against one another: a pair of professional thieves versus a female psychic and her working class lover. It was a fitting end to a glamorous career and a body of work that demonstrated the eternal symmetry between good and evil.

Audience Age Rating Criteria

U (universal)- suitable for all ages. The British Board of Film Classification states that 'U' films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror. Universal films may include extremely mild violence scenes, and do not feature elements of film such as drug use or sexual intercourse.

PG (Parental Guidance)- children of any age may view these films unaccompanied. A PG film shouldn't disturb a child over the age of eight. However, Parents are advised to consider whether or not it may upset younger children. PG films may include mild violence, and very mild versions of other elements of films (such as drugs, discrimination etc).

12A/12- the same criteria is used for both 12A and 12 age ratings. These categories are awarded where, in general, a film is suitable for those aged 12 and over. Films classified at these categories may upset children under the age of 12. The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.

15- no one younger than 15 may see a fifteen rated film, or buy one. Strong violence may be used, and mediocre sexual scenes, drug use, discrimination scenes may also be used.

18- no one younger than 18 may view or buy an 18 rated film. Highest age rating in British film, and may include strong scenes of all elements of film.

How the age classification may affect my film:

Since thriller films are generally explicit, the age classification for my film is unlikely to be 'Universal' or 'PG'. In most cases, thriller films are rated age 12 or higher, so that is the area that my film is likely to be classified. Therefore, my thriller film will probably include some violent content and/or threatening content, to help identify it as a film based on the thriller genre.

Furthermore, thriller films don't generally achieve an 18 certificate, because of the close links thriller films have to horror films. Therefore, thriller writers try to keep explicit content moderate, as opposed to being over-the-top, to avoid being classed as a horror film.

Subgenres of Thriller films

Thriller films can be put into sub genres as the film is to create thrills and suspense but is put into sub genres to apply to the narrative of the film. Some of these sub genres are:

Conspiracy Thriller

In this sub genre the protagonist must confront a large powerful organisation because of the threat they pose that only he/she can see. Usually done alone by the protagonist.

Crime Thriller

This sub genre focuses on crime and is usually in the criminals point of view. This usually involves physical action, chases on the criminal and point of views from the police trying to gather evidence to catch the criminal.

Eco Thriller

In this sub genre the protagonist must stop a threat to the environment that will have consequences for society if left unchecked or mistakes in the cause of this threat. The damage can range to be from local, national or even worldwide.

Forensic Thriller

In this sub genre the protagonist are forensic scientists whose involvement in an unsolved crime can threaten their life or the lives of others.

Legal Thriller

This sub genre is usually filmed in and around the courtroom. The protagonist is usually a lawyer who has found their case life threatening for them or their client, or can be a dramatic case of murder were the criminal is looking likely to get away with.

Medical Thriller

This sub genre something usually used for medical purposes which turn out to be a deadly virus. This virus is usually then leaked out into the public. The protagonist or antagonist are usually doctors.

Psychological Thriller

In this sub genre a lot of the conflict is mental, rather than physical. The protagonist has become involved in a dangerous situation which threats their sanity. They must beat the antagonist using mental prowess, whether the battle is in their own mind or is a battle of wits.

Political Thriller

In this sub genre political relations or the whole government is at stake, and the protagonist is employed by the government to stop the decline. The protagonist may have been low-level before having attracted attention.

Religious Thriller

This sub genre uses the history and myths of religion. Usually a religious artefact or historical secret is discovered and different people and groups are racing/ fighting each other for control.

Romantic Thriller

This is a sub genre of both thrillers and romantic novels. The plot line follows a typical thrillers tension, suspense and excitement, but a main element is the growing relationship between two characters.

Spy Thriller

This sub genre usually focuses on the high adventures of field agents of spies, this is usually set against the back drop of some war.

Supernatural Thriller

In this sub genre otherworldly elements are introduced, usually as an antagonistic force, some characters may have psychic abilities and other supernatural abilities may be present in the film too.

Techno Thriller

This sub genre involves cutting-edge technology playing an important role, either as something to obtain, or working for or against the protagonist.

Brighton Rock Analysis

The Opening sequence starts with the graphic titles of the production company 'OPTIMUM RELEASING' followed by the funders of the film 'The National Lottery' then finally graphic titles of 'BBC FILMS'. As the sequence begins the audience can hear non-diegetic sounds of waves and massive horn is heard. The title of the film 'Brighton Rock' appears in captitals in a graphic lighting production. Thus drawing the audience in already. The sequence then begins with a long shot of the sea and waves.( non-diegetic sound of waves now turn diegetic)

The camedra then cuts to a long zooming shot of an old fashioned telephone ringing (low key lighting). the camera cuts to a medium close up zooming out shot of a man exchanging diegetic dialogue in a phonebox. The camera then cuts to a long shot outside of the phone boothe. the long shot provides the audience to see two shadowy characters in the distance, the camera instantly cuts to a close up of the mans face as he notices them.

 As the sequence ends we see across cuts one with a medium close-op of a man picking up the phone then back to the man as he is surrounded, a fight then brakes out resullting in the man being stabbed. the camera then cuts to a back tracking shot of a man sprinting towards the fight. As the man approaches a point of view shot is seen as the knifey runs away. The sequence then ends with a close-up of the man in a coffin from a low camera angle as the man stares down on him.

A history of the thriller genre

Thriller is a genre which is used in film and television to create suspense, excitement and tension. Thriller is often mistaken for horror sometimes because of the atmosphere of tension its causes for the audience, but they are very different. Horror is very graphic and the audience will feel fear and disgust, were as the thriller genre causes more tension and suspense. Thrillers usually create feelings of intense excitement, suspense, mystery, anticipation, uncertainty, anxiety, tension and has a plot climax.

According to International Thriller writers thriller is characterised by "the sudden rush of emotions, the excitement, sense of suspense, apprehension, and exhilaration that drive the narrative, sometimes subtly with peaks and lulls, sometimes at a constant, breakneck pace".

Some of the greatest thriller film directors are Alfred Hitchcock, Steven Spielberg, James Cameron, Quentin Tarantino, Martin Scorsese, these are the men who have influenced the standard of thriller films. Through the years thrillers have become more graphic to provide better thrills and to keep audiences guessing as story lines have become predictable.

Thriller Audiences

There is a wide range of different audiences who are drawn to specific films and genres, therefore, for a film producer, it is of the utmost importance for them to know how to make their film appeal to their target audience.

The main categories of film audience are:

• Age
• Gender
• Other Demographics (location, upper class, middle class, lower class, etc.)
• Primary Audiences: the main group targeted. For example, for a romantic film- women
• Secondary Audiences: group of people who are likely to see the film after they have heard about it, they have to be persuaded to go and watch a film.

Who thriller subgenres are likely to appeal to:

Conspiracy Thrillers: likely to appeal to males, specifically around the age of 30. Previous conspiracy thrillers, such as 'The Bourne Identity', appealed to this target audience.

Crime Thrillers: a very open subgenre, likely to appeal to all genders and classes. However, depending on the explicitness of the content of some crime thrillers, the age of the target audience may be around the 15 and over area.

Disaster Thrillers: another open subgenre, more likely to appeal to men. Usually open to all age groups.

Mystery Thrillers: likely to appeal to males. Depending on the content of the film, the target audience's age varies.

Political Thrillers: can appeal to females, but usually appeals to males from the elder generations.

Psychological Thrillers: genreally appeals to both genders, and often to the higher end of the age spectrum.

Religious Thrillers: appeals to both genders, and often to the elder generations. Likely professions targeted would be Priests, Teachers, etc.

Romantic Thrillers: appeals to females. Targeted age depends on the content of the film.

Supernatural Thrillers: can appeal to both genders, more likely to appeal to males. Usually, due to the violent and scary nature of supernatural thrillers, the 15 and over audience is targeted.

Techno Thrillers: generally appeals to all ages and both genders.

Collateral Opening

The sequence begins with a medium close up of a mans face as he strolls through a train station. The man is wearing a smart, formal suit and sunglasses- connoting that he is a mysterious man with an air of authority about him. As the scene begins we can hear the ambient sound of people walking through and around a train station, however, the sound seems to be muffled, creating a sense of mystery about the scene.

The camera then cuts to a medium close up of another man walking through the same place. This character seems to be in more of a hurry then the other character, denoted to us by the heavy sound of his fast footsteps, and his anxious looks around the station. After this, the camera cross-cuts between the two men as they continue walking. The cross-cutting denotes to us that the characters are linked in some way, which is confirmed when we are shown the two characters bumping in to each other. As they collide, a close up is shown of one of the mens bags as it drops to the ground, and we hear an asynchronus 'swooshing' sound, which creates mystery and suspense. (Suggesting to us that it is a key prop).

As the scene continues we are shown an over the shoulder shot (over the shoulder of the first character) of the second character, as they exchange diegetic dialogue. The over-the-shoulder shot continues as the first character starts walking through the station again, suggesting to us that he is an important figure in the film. Also, a non-diegetic, asynchronus score begins to play in the background, creating drama and further suspense.

The camera then cuts to a close up of the top of a taxi, with a Bacardi advertising sign on it, suggesting to us that the taxi is soon to become important in the film. After this, the camera shows us another close-up of a newspaper, with what appears to be Hindi writing on it, suggesting to the audience that the scene is set in India. However, this scene is set up to confuse the audience about the location of the film.

The next scene is shown to us via the camera panning right. We are shown a group of men in a room working, and watching football on a television. As the camera continues to pan right, we see a man talking on a mobile device in diegetic dialogue, suggesting to us that he is a key character. The camera then cuts to show us another character, whom is working. We are shown a close up of his face as he looks at a taxi parked outside (shown via a cross-cut).

The camera then cuts to a low angle shot, in a car, as the newly introduced character enters it. The sound of people arguing outside the car continues to increase as the character cleans the cars interior. However, the outside noise suddenly halts as soon as the character closes the cars door, and the score drops to become barely audible, creating a calm and peaceful atmosphere.

Finally, we are shown a close up of the characters drivers licence as he prepares to drive off, suggesting to us that it is a key prop. We are also shown a close up of a picture of an island, also suggesting that it is a key prop.