PLANNING: 'Procure' shot list

1)      Bird’s eye shot of man in bed

2)      Black and white old videos of carrying boxes into ‘new house’

3)      Long shot old movie style of couple outside house

4)      Alarm clock goes off and he presses snooze

5)      Old movies of couple decorating

6)      Alarm clock goes and it is turned off

7)      Shower is turned on

8)      Medium shot of man head down looking depressed {dialogue over the top}

9)      Medium shot of kidnapper and girl in car looking at each other

10)  Medium/close up of kidnapper {informing her of kidnapping although inaudible}

11)  Medium/close up of girl {looking frightened of prospect}

12)  Jump cuts of girl being taken from car

13)  Close up of towel being taken off the rail

14)  Tracking – long shot of close up of man from behind as his head turns right

15)  Drawers being opened (camera inside drawers) {dialogue over the top}

16)  Tie being pushed up {continued dialogue over the top}

17)  Close up of tape being unravelled

18)  Close up of hands being bound together

19)  Medium/long shot of man running in the street

20)  Pan to man waiting round a corner with a gun in his hand

21)  First person shot through gun [FADE TO BLACK]

22)  Extreme close up of man’s gun

23)  Extreme close up of hammer going back

24)  Shot from interior of the car wing mirror of girl running

25)  Close up of match being lit and being drawn to the kidnapper’s face

26)  Close up of man’s face ‘drowning’ in bath

27)  Medium shot of kidnapper driving

28)  Medium shot of man already tied up

29)  Extreme close up of man finding handle

30)  Side exterior of car door opening

31)  Side shot of man rolling out of car

32)  Cut between woman looking left

33)  And first person car approaching (perspective of driver)

34)  Extreme close up of her face as she looks right

35)  First person close up of the car very close to her

36)  Long shot of her being hit

37)  Interior shot of her rolling on the bonnet

38)  Fade to black

She’s staged a kidnapping, in order to gain money from her husband.

She told him she was leaving him

The audience believe that she’s left him, but think that the other man has no involvement in the kidnapping.

Her husband doesn’t know she’s been kidnapped.

The new couple break up and he kidnaps her?

She wants to get back with her husband, but her kidnapper prevents her. He wants to get back at her husband and he’s a nutter.

He’s going to get her back, with the intention of harming her lover.

Editing pace increases

PLANNING: Synopsis ideas

These were our original ideas for the films we wanted to do.

First Idea

The plot of the story is that there is a father of a daughter who has been kidnapped and he is the vigilante who has to take matters into his own hands in order to save her.

Second Idea

In a post-apocalyptic world, a man (Hassan) is struggling for survival against the change in weather, highlighting his failure in life due to social inequality.

Third Idea  

There is an end of college party in which every one of the year attends, but everything turns sour when a girl is brutally murdered and everyone at the party is a vital witness.

From this we expanded on the first idea with the new synopsis being:

When a man’s wife goes missing, he is sure that she has been kidnapped and so in a desperate attempt of saving her he goes on a murderous rampage. He isn’t aware that her ‘kidnapper’ is actually her lover, and his colleague. She has left him due to crippling debts and his low status within the workplace. But will he discover her secret before it’s too late?

However, we changed this idea further to try and give it originality and surprise twists to the film. Therefore creating a new entirely different film:

“When Adam’s wife Jess goes missing, the police are reluctant to find her meaning that Adam has to take the law into his own hands. Nothing can stop Adam from finding his wife but will the bonds of true love break under the stress of the situation?”

{The surprise twist to the plot is that Jess has left Adam and has run off with another man whom she has created a fake kidnapping.}

PLANNING: Trailer plot idea

The ultimate idea of the trailer is that it starts with a man waking up and preparing for what the audience presumes is a normal day. However as it progresses each significant event of his morning i.e. as he switches his alarm clock off it will lead to shots from a scene that will happen later on in his day. For example, the closing of his front door could lead to the gun being shot in the later scene.

The genre of the film is thriller/action, thus we will include the conventional genre elements of creating suspense, creating enigmas, fast paced jump cuts, chiaroscuro lighting and strong conventional Propp character types. The focus of the trailer is to create enigmas for the audience in order to hook them in, although it is a thriller so therefore there will be dramatic qualities to the film in the trailer we hope to make it more action based since it’s only a teaser trailer. 

The main focal marketing point for our trailer is its genre stereotypical set up, in that although it’s not a brand new idea it’s still a well-developed classic that conforms to well established conventions. However, due to the seemingly stereotypical narrative film it will therefore shock audiences through its twists and turns of which they would not have guessed from the trailer. What will also be a selling point for our film will be the fact that Hassan Khan (a highly credited director) is directing the film, therefore attracting fans of him and his films will want to come and see it. We would hope that it will be shown in all major cinemas such as Odeon and Vue due to its wide audience appeal. 

                                               

Our main target audience for our trailer is mostly male teen audience due to the heavily populated action shots which are usually associated with a male demographic. They will probably be aged 15-30 (as our film would probably get a 15 rating) and will be the typical mainstream cinema goer who shops in the mainstream shops such as Topman etc. However this won’t be an all-male target audience, although the trailer itself will be mainly male orientated, the film will have dramatic elements to it making it more appealing to a female audience who are more interested in the relationships and developing plot line of the story.  

PLANNING: Cast and Costumes (Original ideas)

CAST

Main antagonist: Tom (Adam Nixon)

Wife: Jess (Caitlin Heaton)

Kidnapper: Louis (Louis Pring)

COSTUME

-Adam begins in underwear then dresses, Nixon changes into his jacket

-Jess wearing typical femme-fatale clothes, dark black dress, bright red lipstick

-Louis wearing black clothes (chinos and jacket)



Idea for Jess' dark black dress

Idea for Louis' dark jarket

PLANNING: Locations and Props

Locations

The main part of the trailer is where the main character Tom is getting ready in his room. For this we needed to use a male’s bedroom and so therefore we will use Adam’s own bedroom to film these scenes. And in order to keep in with the idea that the couple were married we will use Adam’s house to film the shots of the ‘happy couple’.

The outside shots including the shots with the car will all be filmed on a road but they will mostly be filmed in and around Waterfoot making it easier for us to film during school time. A possible place to film the car accident scene could be King Street 



Secluded road similar to the
one we will be filming on



For the shots where Tom will be running (shot 19) we could use a road just off Cowpe Street as it is quite secluded and just large enough to fit a car down making the tracking shots more realistic.

For shot 14 when there is a tracking shot of Tom from behind we will film in the now recently knocked down mill at the bottom of Booth Road to make it seem very mysterious and ominous. 

For the close up of the tape being unravelled and of Jess’s hands being tied together we are going to use a room in the school that has an enclosed and ominous feel to it.

For shot 20 and 21 where we see Tom holding a gun we wanted to use a private road but unfortunately that wasn’t possible so therefore we are going to use a toy gun and sue the location of Duke Street in Waterfoot which has graffiti on the side of the wall which will look very effective in the panning shot of 20.

For shot 24 where the shot is through a car wing mirror we are going to use the location of West Street in Waterfoot.

Props

In order to keep continuity and to make it seem realistic we are going to use Adam and Louis fake guns which both look rather convincing however, obviously for safety reasons they are not real.

Since there are two main characters that both have guns Louis (Jack, the kidnapper) will use his own Red Metal BB Gun which looks something similar to the one below:

Gun we will use will be similar to this

And Adam (Tom, the vigilante) will use his own black 357 revolver which looks similar to the one below:

For the opening scene we are going to need to use cardboard boxes with different words written on them such as “BOOKS” etc. to further emphasise that the couple are moving house.

For the kidnapping scenes we will also need to use some rope, duct tape and some matches in order to do the match lighting shot.


Rope we will use will be
similar to this



 



We will use a roll of
duct tape similar to this



PLANNING: Script for 'Procure' film

INT. DAWN TOM’S BEDROOM (SHOT ONE)

TOM can be seen sleeping in his bed.

     CUT TO.

EXT. DAY OUTSIDE STREET (SHOT TWO)

TOM and JESS are seen unloading boxes whilst smiling at the camera.

TOM

I, TOM, take you JESS, to be my wife, to have and to hold from this day forward, for better or for worse, for richer, for poorer, in sickness and in health, to love and to cherish; from this day forward until death do us part.

Then camera is then turned to reveal JACK who is also smiling into the camera.

CUT TO.

EXT. DAY EXTERIOR HOUSE (SHOT THREE)

TOM and JESS are stood together with TOM’S arm around JESS as they laugh and smile at the camera.

CUT TO.

INT. DAWN TOM’S BEDROOM (SHOT FOUR)

TOM’S hand can be seen reaching over and pressing snooze on the alarm clock.

CUT TO.

INT. DAY TOM’S HOUSE (SHOT FIVE)

TOM and JESS are seen decorating the hall and playing with paint, putting their dirty hands over each other.

JESS

I, JESS, take you TOM, to be my husband, to have and to hold from this day forward, for better or for worse, for richer, for poorer, in sickness and in health, to love and to cherish; from this day forward until death do us part.

CUT TO.

INT. DAWN TOM’S BEDROOM (SHOT SIX)

TOM’S hand can be seen again reaching over and pressing the alarm off.

CUT TO.

INT. DAY TOM’S BATHROOM (SHOT SEVEN)

The shower can be seen turning on.

CUT TO.

INT. DAY TOM’S SHOWER (SHOT EIGHT)

TOM’S head is seen hung in the shower as the water drips over him, he looks very depressed/upset.

A dial tone can be heard.

OPERATOR

                   999, what’s your emergency?

TOM

                   Police please, it’s my wife, she’s                        been taken.

CUT TO.

INT. NIGHT JACK’S CAR (SHOT NINE)

JACK and JESS can be seen looking at each other in the car.

CUT TO.

INT. NIGHT JACK’S CAR (SHOT TEN)

JACK (inaudible)

                        I’m so sorry.

CUT TO.

INT. NIGHT JACK’S CAR (SHOT ELEVEN)

JESS looked horrified as the car door opens.

CUT TO.

EXT. NIGHT JACK’S CAR ON ROAD (SHOT TWELVE)

JESS is pulled from the car by her stomach as he lifts her into the air away from the car, by a man in a hoodie.

JESS screams and struggles.

CUT TO.

INT. DAY TOM’S SHOWER (SHOT THIRTEEN)

TOM’S hand can be seen reaching for a towel off the rail.

     CUT TO.

EXT. NIGHT OUTSIDE STREET (SHOT FOURTEEN)

TOM can be seen with his back to the camera and as the camera approaches his head turns to the right to look behind him at the camera.

CUT TO.

INT. DAWN TOM’S BEDROOM (SHOT FIFTEEN)

TOM is looking down into the drawers with a serious expression on his face as his rummages through the drawer.

TOM

                    If you’re not going to do                                 anything about it,

CUT TO.

INT. DAWN TOM’S BEDROOM (SHOT SIXTEEN)

TOM is seen pushing a tie up.

TOM (cont.)

then I will.

CUT TO.

INT. EVENING DARK ROOM (SHOT SEVENTEEN)

JACK’s hands can be seen unravelling duct tape whilst walking.

CUT TO.

INT. EVENING DARK ROOM (SHOT EIGHTEEN)

JESS'S hands can be seen tied to a chair with the kidnapper in the background but out of focus.

                                                     CUT TO.

EXT. NIGHT STREET (SHOT NINETEEN)

TOM can be seen running through the street with a very serious/determined look on his face.

                        TOM
              I don't know what you think you're                        playing at.

                                                     CUT TO.

EXT. NIGHT STREET (SHOT TWENTY)

The camera pans to TOM who is pressed up against the wall lurking around the corner with a gun held close to his chest.

                        JACK (cont.)
              Me? I'm not playing at anything.

                                                     CUT TO.

EXT. NIGHT STREET (SHOT TWENTY ONE)

A gun can be seen with a very busy street in the background.

                                                     CUT TO.

                        FADE TO BLACK.

EXT. NIGHT STREET (SHOT TWENTY TWO)

TOM’S hand is holding a gun.

                                                     CUT TO.

EXT. NIGHT STREET (SHOT TWENTY THREE)

TOM’S hand is still holding the gun whilst the hammer goes back.

                                                     CUT TO.

INT. NIGHT TOM’S CAR (SHOT TWENRY FOUR)

JESS can be seen through the car wing mirror running away in fear of TOM in the car.

                                                     CUT TO.

INT. EVENING DARK ROOM (SHOT TWENTY FIVE)

JACK strikes a match and brings it towards his face in a very dark room, as he stares at the match intently.

                                                     CUT TO.

INT. EVENING TOM’S BATHROOM (SHOT TWENTY SIX)

TOM is submerged under water in a bathtub holding his breath as he looks directly into the camera.

                                                     CUT TO.

INT. EVENING JACK’S CAR (SHOT TWENTY SEVEN)

JACK is driving the car looking out onto the road with an angry expression on his face.

                                                     CUT TO.

INT. EVENING JACK’S CAR (SHOT TWENTY EIGHT)

TOM is already tied up and is switching his focus from the road to JACK and then down towards the car door.

                                                     CUT TO.

INT. EVENING JACK’S CAR (SHOT TWENTY NINE)

TOM’S hand can be seen rooting for the door handle as he pulls it open hard.

                                                     CUT TO.

EXT. EVENING STREET (SHOT THRITY)

The passenger door opens and TOM can be seen rolling out of the car from a side on angle.

                                                     CUT TO.

EXT. EVENING STREET (SHOT THIRTY ONE)

JACK’S car can be seen driving by as TOM rolls out of it on the other side.

                                                     CUT TO.

EXT. EVENING STREET (SHOT THIRTY TWO)

JESS is seen looking distressed, as she looks left across the road.

                                                     CUT TO.

INT. TOM’S CAR (SHOT THIRTY THREE)

The camera doesn’t show TOM driving towards JESS at high speed. JESS is still looking left at this point.

CUT TO.

EXT. EVENING STREET (SHOT THIRTY FOUR)

JESS then turns right and notices the car approaching at speed and her face shows a panicked expression.

CUT TO.

INT. TOM’S CAR (SHOT THIRTY FIVE)

TOM is still driving towards JESS with speed. JESS is now looking directly at the car in fear.

CUT TO.

EXT. EVENING STREET (SHOT THIRTY SIX)

TOM’S car then collides with JESS at speed.

CUT TO.

INT. EVENING TOM’S CAR (SHOT THIRTY SEVEN)

JESS’S body can be seen rolling onto the windscreen and then off onto the body from the perspective of TOM.

FADE TO BLACK.

RESEARCH: Film producers and distributors

Our film’s genre is a thriller/action film which in terms of film producers is a very popular genre.

Since moving away from their Disney persona, Miramax films have become an established film producer and distributor in its own right. Although Miramax don’t strictly just make thrillers they make a wide range of films. However they have recently started producing more crime/thriller/action films such as Don't Be Afraid of the Dark (2010) The Debt (2010/I) and in production now Sin City: A Dame to Kill For (2013). Miramax film would be a great producer to produce our film due to its well-known status in America and in particularly the semiotics of its company logo.

The Miramax logo has your typical binary opposite of black and white which in relation to a thriller genre is perfect. The binary opposition could connote several different things and the main one being the fight between good and evil evident in our plot line with the kidnapper and the vigilante even with the addition of the femme fatale twist. The sans serif font in addition to the line straight lines also gives it that finished edge making it look more professional and elite which would really give our film a boost in terms of making it a success in the box office. 

Due to the fact that our film does not have any major stars/directors or a large budget it would be unlikely if it was to be made that Miramax would produce it due to its high status and close links to America. However there are occasions of which Miramax has distributed low-budget ‘unknown’ films such as Garden State (2004) written and directed by the upcoming Zack Braff. This is more than likely due to its high praise at film festivals and its awards at the Sundance Film Festival, Los Angeles Film Festival and US Comedy Arts Festival.

In relation to Garden State its initial release in the US was 16 January 2004 which is outside of the summer holiday blockbuster season that occurs between June-August, because it was a relatively low budget film there would be no competition with the Hollywood blockbusters of that year. This is a technique we would again use for our film since ours is a low budget film but we would also incorporate weather into our release date since November – December is obviously blighted by cold weather and in some cases snow and ice why would deter people from coming to see the film if they can’t even get to the cinema. In contrast to this we would also take into account that between April-June (just before the blockbuster season) it is usually good weather where people won’t want to go to cinema inside if they could be sat outside in the sun. So therefore we will hopefully release our film between January – March.  

Bad Robot Productions is an American film and television production company owned by J. J. Abrams. Although it is more responsible for television series it does also produce films. Bad Robot was originally part of Touchstone Television, but has moved with J. J. Abrams to Paramount Pictures and Warner Bros. Television, after his contract with Touchstone had expired in 2006. A lot of television programmes that they produce such as Lost, Alcatraz and Fringe are mostly Sci-Fi’s but they also have thriller/crime/action elements involved in them.

Bad Robot Productions have co-produced many successful films such as Cloverfield, Mission Impossible III, Star Trek and Super 8. This would therefore give our film a certain gravitas to our relatively low budget film.  

The semiotics for this production logo suggests an unknown and uncertain outcome with the dark clouds covering the yellow sky. The dark grass also connotes an air of evil spreading across the land, which contracts the typical view of green grass which suggests hope and prosper. The robot itself looks small and dominated by the looming evil, the robot’s eyes look sad and pleading, not too dissimilar to the wife who gets kidnapped in the film. The font style is uneven and spiky which suggests an air of uncertainty and the capitalization makes a statement to the audience. 

Our film is obviously not going to be able to compete with the big conglomerate Hollywood productions and therefore we will start small scale with a premiere at the Picture House in Manchester then try and get into film festivals in order to gain recognition. We will initially start with a British audience rather than an American one, although the genre and idea is very much a typically American film it will be best to start with a British audience. This will be demonstrated by the fact that we won’t use the typical green title that says “The following preview has been approved for all audiences by the Motion Picture Association of America Inc.” therefore suggesting that it is for a UK not  American audience.

RESEARCH: Bourne Legacy Trailer Analysis

The bourne legacy trailer analysis from hassankhan95