Shooting 2: The Empty Motorway and The Town Skyline Shot

Since some of our establishing shots weren't really tied to any scenes we plan to film, we had to organise minor separate shoots to gather what we planned to film. We had a scheduling problem with this shoot, evidenced in out two shooting schedules below.

THE EMPTY MOTORWAY SHOT:
We originally planned to film on the 6th of October, but in that weekend I was in hospital unexpectedly so we had to cancel the shoot. We rescheduled it to the 20th of October (on the weekend again) this is because we didn't want college to interfere with filming, and we could go home for a rest after. 

Iain stayed over at my house (because it was the closest to the A66 location) and we thought it would be okay for just us two to get this shot (just like I wasn't there for the corridor shot, Lizzie wasn't here for this shot). We woke up around 4am to get ready and we left my house at 5am to walk from my house to the A66 motorway, which took about 45 minutes. I knew where abouts it was and which bridge to film from so we didn't have any geography issues. Here's a picture of the bridge we used.

This particular shot caught our attention as we knew it had to be captured at a certain time in the day, for both lighting and traffic technicalities. When we arrived, we knew it was going to be difficult to capture what we wanted as it was still rather low light and cars would pass every 5 or so seconds. But this was not the only issue- it was our first time filming with the new tripod, and for some reason we just couldn't get the tilt to work (we should have checked how to use it before we came to film but we had to over come this) The tilt wouldn't adjust very well and I suggested that we try hand held to get the right amount of tilt from down to up. We tried many times for about half an hour, so we got some okay shots and some tragic ones due to either traffic or my hands stability. 

We even tried both sides of the bridge, and I forgot to mention the maintenance van on the road that disrupted our initial shots (so we waited until it reached the end of the road). Thankfully we achieved some usable shots, but at the time we felt it was a disaster and Iain volunteered to try using the main road near his house (because of the bridge too). 

On our way back, we ventured through a housing estate and captured some other shots looking down the road. We thought it was good because it showed all the cars still there, suggesting that there's no adults because they aren't in use. Then we went back to my house to sleep some more. 

THE TOWN SKYLINE PAN:
On that same day we organised the town skyline shot, and we planned to all do this one. We met up outside our chosen location, the Captain Cook multi-story carpark. 

First we gathered some pan shots from indoor, as we could see the towns buildings and offices. But we mainly wanted to get a long pan of the skyline, so went to the very top of the carpark and set up there. I thought the sky looked amazing with deep and heavy rain clouds which totally contrasted with the intense orange sunset sky (where clouds parted), it had a very apocalyptic sense and so we were so glad to have came at the right time. We all had a turn panning, and we got some good shots.

We were about to look at a different angle of the skyline to capture the industry and smoke, until a problem arose. One of the carpark staff approached us and asked us to leave because we weren't allowed to film on their property with a permit from the council. So we had no choice but to politely leave. We were halfway through the door and yet he continued to warn us as if we were protesting (he talked about the armed response team) but we were at least glad to get a few good shots. I suggested that we go to another carpark nearby, but when we arrived it was already closing. So we headed to McDonalds to treat ourselves and called it a day. 

When Iain went home he planned to film to the road near his way, but there was too much traffic, so instead he went into the forest nearby to see if he could get that establishing shot. Here's a video showing some of the shots:

We thought these shots were really nice but too fantasy/surreal almost, especially for our trailer, We aimed fore shots that showed negative and mass effects of the event. Although we thought it could have been nice for the equilibrium part of the film/trailer, if the teens were in the woods hanging out, maybe.

In the summer I borrowed the camera in case we filmed, but since we didn't, I went out one morning to see what establishing shots I could come up with. It was very early and I got caught in torrential rain, so it not go as planned because I was going to go to the motorway myself, but I came back, drowned. Here's a video showing some of the shots I gathered on my way. We are really considering the park shot because the weather makes it appear sad and dark. 

We had done most of our establishing shots by this point and we are relying on our other main shoots to capture the ones we don't yet have, like the beach and industry ones. So far, I think it's fair to say we were doing well, with lots of video options.

Shooting 1: The Teacher Disappearance and The Corridor Shots

We had to re-shoot the teacher shot because our first shoot wasn't as successful as we hoped. In theory the idea was achievable, but the practical side needed working on. We first filmed on the 2nd of October, then again on the 15th.

TEACHER DISAPPEARANCE SHOT:

Also known as 'the Ged shot' took place in the Lecture theatre. We selected this location because of it's set up with rows of tables which allowed the composition of shot to function correctly. 

Firstly we organised the shoot with our media/literature, Ged, while he had a class, so we asked to use his current students to come in the lecture theatre too, to fill up seats. We planned for it to only last around ten minutes because we didn't want to hold everyone back and it was only one shot. Everyone was seated and Iain put on a history presentation as if the class was being taught. From that, Ged decided his line was 'the effects of the war hindered rather than helped the economy' which was good because then that helped set the scene. We directed him, so that once he ducks he stops his line. 

In achieving the camera work, we used the very back table as a surface and a jumper to sit on the table while the camera is placed on it, we pulled the jumper along the table to create a dolly effect. It was good because there was no background sound from the movement and it was smooth.  Iain was in charge of the camera for this shoot as we thought it would be good o have Michael and Eve in the class (not that you'd notice). 

However, a problem came from our timing. We used Clare (Selene) to signal Ged when to duck based on how far along the table the camera was/whether someone head passed the frame, as that was the perfect opportunity for Ged to duck. We kept catching a part of Ged as he ducked down. So in trying to resolved this we found a point in which the camera would be on the table when Ged disappeared, we then changed peoples seating to ensure there was a head in the frame, and we told Ged where exactly to stand. But we kept having the same problem so we tried directing which way Ged should go when ducking, like towards the desk or just where he was stood. This shoot was unsuccessful because it went on for too long, so we rescheduled it. 

On the re-shoot we had the same problem until finally we captured one good shot. Before there was many almost good shots but we would see just a little bit of Geds shoulder or head move down as the camera passed. Here a video with some examples and the successful shot:

THE CORRIDOR ESTABLISHING SHOT:
After the first Ged shot attempt, my group went to film the 'clinical corridor' in gathering the different establishing shots. I had to go to an English lesson so I couldn't participate, but it was okay because this shot didn't really require lots of attention, Iain and Lizzie handled it. 

We planned to use a zoom, experimenting with both zoom-ins and outs of looking down the corridor to see which was more effective. We felt it was important to have some interior location shots for a range of different ideas conveyed- this reminded me of  a very clean version of the hospital corridor in The Walking Dead TV series, a minor influence of mine. The clinical feel accentuated the emptiness to encourage the narrative.  We had no major problems. 

Characters and Casting

As established, there are two rivalry groups so we began dividing people into those two groups with possible allocated roles. We cast ourselves too, but we planned this ages ago as we wanted to be main characters because we could rely on ourselves to be available in each shoot. We also decided to have a matriarch and patriarch in both groups, reflecting THG use of character functions in terms of tributes. Considering that we are making a trailer, we tried to add depth to the main characters by identifying their personalities and traits, as that could help the narrative grow and let the viewer identify and relate to the more. 

MAIN CAST/CHARACTERS:

Daniel Shippey (me) as Michael Lockwood (Protagonist group Patriarch)

was cast as the patriarch of the good group because my other group members liked the idea of having an 'unlikely hero' in thought of my appearance (facial piercing) and personality (not wanting to lead) as it challenges the archetype of a hero. We thought this could reflect the influence TWTWB, as a rebellious character (Homer) has to step up alongside the female leader. We decided that my character had to be conveyed as quite normal and plain so the audience can better relate to me as the hero. We tried to achieve this through my character name, 'Michael', because it's generic, while it also had a LOTF-like meaning because of the biblical connotations behind the name. Michael symbolised the arch-angel, Michelangelo, who represents good defeating evil- this was suitable because it matched the plot. We chose 'Lockwood' as my surname because it sounded strong and protective, like the traits of Micheal, while 'wood' suggests the nature of humanity will survive through the event.

We had lot's of debates about my character name because no other name, like 'james' or 'sam' felt right, but then we settled with Michael because it was most fitting to our needs in terms of character and narrative. 

Lizzie McLaughlin as Eve Formstone (Protagonist group Matriarch)

We cast Lizzie as the matriarch of the good group, naturally because of her innocent yet strong appearance. Most female leads have dark hair which connotes masculinity, but Lizzie had blonde hair and we felt the symbolism of goodness was suitable and also in a sense challenging to both THG and TWTWB influences as both female leads have generic dark hair. Lizzie and I suit being the leaders of the good group because we are of a similar height and we generally look like good people compared to the other cast members. Lizzie fought for another theme of love to be in the film like in most teen films and our influences, but we didn't want to really hint at this, so instead we made he appear more dependent on Michael, adding to his pressure of protecting the group and both their identities. The name 'Eve' like 'Micheal' is also biblical, which brought further themes of betrayal into the plot. The name matched her appearance and character, so we kept it.

Iain Guy as Haden Godfrey (Antagonist group Patriarch)

We thought Iain was the best person to play the patriarch of the bad group because of his appearence- his angular and sharp features allow him to have naturally cruel and mean expressions, helping to portray his evil personality. Adding to that, we felt he could act as a sophisticated villain in his costume, hair style and white complexion. His sociopathic streak is hidden yet reflected in his clean-cut appearance, much like Patrick Bateman in 'American Psycho'. Hadens need for control is what makes him a threat and danger to society, bringing about civilisations downfall by hunting the good group. The name choise 'Haden' came from Iains interest into greek mythology, as Hades is the God of the underworld, he said Haden was reminiscent of that God because he brings death to narrative. The surname 'Godfrey' functions to represent his power and contradict the nature of good and evil in the new society. We all agreed that it had a certain negative sound to it. 

We did have some debate about whether I should be the villain in light of my negatively viewed appearance in society, so we even asked other groups and teachers. Everyone saw a link between him and 'Jack' from LOTF because of his ginger hair and well-spoken accent, evoking characterisations of Jack- both have the same aim to seek power, an attitude that believes they rightly deserve to rule and the negative (evil) connotations of ginger hair. 

Clare Branson as Selene Blanchett (Antagonist group Matriarch)

To accompany Haden, the matriarch of the bad group, Clare functions as 'the whisper in the ear' as she would stand by him, giving him barbaric ideas and encouragement. We cast Clare because she is already close to us and fortunately available to play as a main character. But also, she is very fitting as an antagonist because of her dark hair, height and ability to pull sly expressions. She stands against the good groups matriarch, Eve, as an opponent and symbol of conflict (hair/height/expressions). Clare ensured that Iain was the villain because together they suit as villains, while Lizzie and I are similar in that respect. Also, Clare and Iain appear like conventional villains in Hollywood films because they are tall, thin and pale, which are natural qualities that can be recognised as 'evil' allowing the audience to identify the bad, which will define the good. We named Clare's character 'Selene' because it connotes darkness through Roman mythology. however, personally, I liked the sound of the name because of the 's' sound that makes me think of snakes and her sly expression, as the assonance of the 'e' sound strengthens my perceptions because the sound is pulled along.  I think this only reflects THG as some of the other female tributes were very threatening which surprised me, having as strong impact on the viewer because there are less gender stereotypes, which is now common in Hollywood productions. 

SIDE CAST/CHARACTERS:
We employed other friends to be side characters as we needed at least ten people so there would be actual groups.

Fiona Gill as Fiona Grey (Protagonist group member)

Fiona's character functions to highlight the brutal nature of rivaling groups, in reflecting the downfall of civilisation. She is Haden's first victim and dies, putting how things really are into perspective. Through her role, the film takes shape and pace through a chase scene that provokes thoughts in the main characters to add depth and realism in them and the narrative. Her name wasn't changed because the meaning 'fair' suited her, while 'Grey' indicates a lifeless turn for her and story because the goodness is lost. 

Matthew McLaughlin as Alfie Formstone (Protagonist group member)
Eve's younger brother brings elements of reality and normality to the plot because family still exists. At the same time it heightens the tension and need for protection which is good for the trailer and portrayal of Eve. 

Sam Coburn as Luke Goldwyn (Protagonist group member)

The best way to describe Luke, is Michaels right hand man. His function is to help the good group get through the problems posed by the bad group. He contributes to the decisions of the group, and his male presence adds to the balance and stereotypical strength of the group- if I was the only male besides Lizzies brother, the group would be unintentionally portrayed as weak and without a chance of survival compared to the antagonist's. 

Dan McArthur as Jake Fletcher (Antagonist group member)
After asking about for characters, we attracted some guys that looked just right for the antagonist group. Dan is very tall and therefore functions to create further intimidation and fear. We ensured to bulk up Hadens group with henchmen, they may not be lead cast, but they helped define Hadens appearence by doing his dirty work in order to maintain  his clean-cut and sophisticated appearance- as he wont be chasing people about like a child. 





Kieran Hanrahan as Kieran Stockholm (Antagonist group member)
Just like Dan, Kieran has the same role. Kieran has dark hair and a strong build, so he was suitable for the threat. We wanted both henchmen to display sadistic charateristics too, so it all pieced together. 








Extras and Other Cast/Characters:

Hannah Larkin as Lana Moore (Protagonist group member)
Lana is another character who seeks seafety in the good group, but contributes nothing major to the plot. 

Alex Sherlock as Evan Campbell (Antagonist group member)
Another Henchmen due to his broad appearance, unfortunately we don't have a picture of Alex. He supports Haden's group with his brawn. (Notice that Clare is the only female in the antagonist group, as the male domination clearly functions to communicate the dominance and power that they seek.)

Karen McLaughlin as Eves mother (Adult)
Lizzie's actual mother is there to voice the context of the plot with the goverment experiment evidenced in her work folder. She also aims to show the loss of family to add realism. 

Ged Groves as a teacher (Adult)
We plan to use an actual teacher to play the role of the teacher. He is important in communicating the actual government experiment in action. He also brings the story to a focus of school kids and shows that it happens unexpectedly to all adults.

Pre-Production: Locations, Props and Wardrobe etc

Locations:

(for scenes):
Beach/pier (Saltburn)
Forest/farmers field/beck (near Iain's area)
Lizzie's house/garden
My house 
College(lecture theatre) 

(for establishing shots):
A66 Motorway (on bridge)
Forest
Captain Cook Multi-story Car park (Town skyline pan)
The industry (from beach, during beach shoot)
College (corridor) 
Town (at 7pm on a sunday)
Beach (Saltburn, during beach shoot)

Props:

• Bats and Modified bat (plan to borrow some from the college and buy one to modify) - chase scene
• Government folder-use old folder and design government logo on serif draw plus.
• Matches and Torches- Hiding and searching
• Laptop for Eves mother
• Rocks/wooden logs- generic campfire scene
• Tins of food- supplies scene

Wardrobe:

We all agreed that we should all wear our normal clothes, but mainly dull and plain ones so that they reflect a darkness/sadness in the new world. Nothing extremely colourful.

We said Eve can wear a white t-shirt to typically symbolise purity, but this wasn't significant. 

We also plan that Eve and her mother will be wearing pyjamas for the opening scene part because it's night and representing the normality. 

We planned that Haden and Selene should wear dark clothing and pea coats to appear broad and match their 'wealthy' backgrounds. In terms of make-up, we wanted Selene to wear dark eye shadow and red lip stick as those stand out to show how she is unclean and unaffected by the new world (still wears make-up), whereas Eve would be natural. 

Here's a sheet showing some planning of this:

Pre-Production: Storyboarding the Trailer

We began storyboarding in July 2013 to develop our narrative idea, this allowed us to test how well we could communicate the plot to an audience. Although, in our AS project we realised that sticking to a storyboard can limit creative thinking, so we mainly used storyboards to document main ideas/scenes we wanted in the trailer.  This meant we were not so precious of things like the chronological order of shots, as we only used it to prompt the production stages more than the post production stage. Considering our media text is a trailer, we anticipated that a structure will come from how well filming went and the choice of music. 

Here are the storyboards with explanations:
(some shots are not in full order)


Sheet 1&2
We wanted to begin with a close up of a clock to establish the importance of time, in anticipation for the life changing event that occurs next. We planned to have no music in this opening, just the ambient sound of the clock ticking and an intriguing silence.  

The next shot was of Eve glancing through the opening of her kitchen door.  We wanted the door to creek above the silence to show the intrusion of Eve. 

Cutting to an eye-line shot of her mother on the phone to her work, but it's late at night which is curious. Her mothers dialogue '12 hours from now?!' refers to when the event will begin, but the preciseness is interesting because it invites questions from the audience. We decided on 12 hours rather than any other amount of time because then time seems to be viewed more intensely since it is a full cyclic period of time on an analogue clock, rather than 2 hours which has less effect on the viewers thoughts. 

Then it cuts to less tightly-framed shots of Eve walking towards her mother to say goodnight. As they hug, we cut to another eye-line shot of her mothers work folder. It has a logo on it that indicates the government, showing that it is important to the plot, while the eye-line helps to portray Eve as a main character again as it puts the audience in her eyes.

Looking at the storyboard below at no.8 we then wanted to introduce the institution logo, signifying then end of the calm beginning that introduces the context of the plot.

This is continued with the occurrence of the mysterious event. We first imply the adults are gone, through Eves mother. Iain and Lizzie suggested that she is doing something normal like making food, and as she walks out of the camera frame, the sound of a spoon hits the floor to suggest she has instantly vanished. The clash of the spoon on the floor symbolises the harsh disruption that the story is built around. 

This would be followed by a reaction shot (located on a sheet further down, shot no. 13) of her son and Eves brother Alfie. He would walk into the room holding a gaming gadget and looking up to find his mother in his sight but she is not there. His dialogue is 'mum?' so we plan to get Matthew to say it in a question-like tone of voice. This shot also captures the spoon on the floor, having two main subjects of drastic distance/size; this helps exaggerate the the thought that the adults are gone, leaving the children alone, small and defenseless. 

Sheet 3
We thought that so far the story only exists in Eves kitchen, therefore we went to the setting of the teens during the event, as that allows the narrative to focus on the idea that the children are untouched. In a classroom, the lesson was taking place while the teacher vanishes. We wanted to cleverly execute this, so we planned to used a dolly/over the shoulder shot (at the back of the classroom) so that through the movement of the students heads passing in front of the subject (teacher) he could vanish by ducking down out of the frame- this requires good timing and we planned to figure of the composition on the day of the shoot. 

After that, in following trailer conventions to portray the narrative, we wanted to use copy to engage the viewer with a question like 'what would you do if all the adults just...' but we felt it was difficult to think of anything at that stage, and agreed to finalise our use of copy in the editing stage. 
















Sheet 4
We then planned to cut to the part of the establishing shots. The purpose of these are to show the mass disappearance of adults. We wanted a long shot of clinical and bare corridor zooming in to create some movement on screen as we planned to use a part of a song, for effect. Other locations were important as they showed a range of places: the beach, a forest and industrial area. However, we realised that the mise en scene connoted ideas that will be shown later in the plot. We needed to communicate that the adults we gone, so we thought of main places adults would be, and we thought the motorway tilt-up will be particularly powerful in suggesting that, as well as shopping areas. Finally we ended on a skyline pan shot to summarise the mass effects- covering a large portion of land helped say that it was a major event effecting every adult. Reflecting Roads structure.




















Sheet 5
We planned to separate the establishing shots from the focus on the teens after the event with another copy that stated 'based on the best selling novel' as that makes the film seem like other films, functioning as a minor/made up USP (it's not really based on a book and the film isn't real anyway). We were influenced by The Road. We imagined if this was really based on a book, it would attract the readers/fans of it, therefore has a wider demographic.

The main characters are slowly introduced now, firstly Michael and Eve and her little bother, walking on the beach (we really wanted to use teen-associated locations to secure the genre) while the location and canted angle helped to convey emotional connotations (crashing feelings) as the effects of realising what's happened (world is on a slant). I thought it would be another good mise en scene idea to have the camera capturing the industry in the background to show that they are left in a polluted world, foreshadowing what bad things the world will bring them as a result. The point of this scene was to communicate Michael and Eve  realising what they need to do now in order to survive and work out what's really happened. Through dialogue, we needed to establish that Michael was becoming a leader, so we scripted 'it's time to step up' but we thought it sounded wrong and not fitting to my character, but we were going to try it. 

Sheet 6
This is when the plot takes shape and pace, as we wanted a sense of realism, 
we envisioned that gathering food and supplies was crucial in an apocalyptic state. So we storyboarded a scene depicting this- it is located in my kitchen instead of Lizzie's to create the idea that the teens had resorted to scavenging through other peoples homes to survive. We wanted them be rushing as if there was a threat and lack of time, preparing the viewer for the introduction of the antagonists. Michael is meant to be clanging the tins on the counter top as her collected them, while we wanted to be creative with the camera as Eve opened the cupboard door and grabbed the camera like it was another piece of food. 

Sheet 7
In shots 32 and 34, we wanted to exaggerate the fact Eve's mothers folder is gone, through dialogue, re inviting it back into the plot to show that it's important. On this sheet you will also find the previously reference spoon/alfie shot, and ignore the tin close up. The folder shot leads us onto the next sheet.

Sheet 8
The antagonist, Haden, is introduced through reading Eve's mothers work folder, and as it holds the key to bringing back the adults thats the last thing he wants since his personality was made for a world that he can claim rule over. I don't think we crafted the communication of this very well in the planning stages. This shows that they have stolen the folder, and must have been going through Eve's home, suggesting the threat. 

We go onto a campfire scene, this again is cliche of teen movies which targets the teen demographic and reflects TWTWB. This helps distinguish the group identity now, and they are discussing Michael being a leader, but he has no choice since 'they look upto you Michael' spoken by Lizzie character. But this was only early stages of planning, we all wanted to do more improvisation this year- getting into our roles mentally to evoke natural speech in scenes rather than planning it, so we weren't too concerned.

Haden and Selene were scripted to both look at each other and say 'vanish at 17' to help clarify some details about the event. This was also to add urgency, since both groups knew, they knew that time was running out, but they didn't know if it would still affect them after the event. 

Sheet 9&10
The first frame is relevant to the campfire scene, the group shot was to identify the protagonist group. The rest capture the chase scene. Both groups are shown in this, representing the nature of their relationship (protagonist chased by antagonist) we plan to use the farmers fields near Iains house, leading into the forest for a classic Eden chase. The bad group will be carrying bats to show the extent of their threat. The chase opens with a extreme long landscape shot, then they run diagonally past the camera and into the forest. 

The shot of the forest path shows two arrows, indicating that the good group split up to escape. I added the foot print shot- I planned to lay on the ground as Fiona Grey jumped over me, then I'd lift up and track her, as I said it was crucial to have unstable camera movements in a chase to immerse the viewer. I learnt this from AS, because we used a lot of fixed shots in a chase, which proved very ineffective. This then shows that we were focusing on Fiona in the chase- she was the victim, the weakest of the herd, almost to support the concept of 'survival of the fittest'. We than planned a tracking shot, in which meant we would run beside her as she ran to add further intensity. We scripted her to trip over in front of the camera, reaching out, as this directly addresses the viewers in a way to emotionally involve them in the unpleasant situation. I added the POV blurred tree shot, this was to communicate Fiona turning on her back to get up, while the trees showed the distortion and adrenaline of the chase. 










































Sheet 11
Continuing from the last sheet, Haden asks 'where are they?' in obsession for defeating the good group, he is pacing back and forth because it bothers him that much. Selene, in response says 'who cares?' which results in Haden lashing out at her by slapping the magazine out her hands. We planned this to gain an insight into the bad group, especially to show how they treat each other. We planned that Haden apologises but I objected to this since people like Haden have no remorse for killing innocent people, why would he be sorry for anything?

The locket in the hand was a scrapped idea.

The last frame captures Eve and her brother hiding, and using a match to provide light in the dark, inspired by The Road.



























Sheet 12&13
At this point the antagonist group are directly introduced to the viewer as the emerge from the back tunnel, it portrays their ugly and infected personalities, as sociopathic leaders/henchmen who seek to destroy the good group and rule the area for themselves. The unpleasant location can reflect their current social position in a way because they are trekking through dirty water, they want to be on higher ground. 

On the close up of Haden's face, we want the music to pause for a mid climax as he says in his cruel toned voice 'find them!'. This tells the audience that they are not a passing threat, their aim is to find 'them', the fact the good group are referred to as 'them' creates the idea that they have been talking about them/well acquainted to their opponent, but not personal towards them. It is quick-spoken and commanding, adding depth to Haden's character. 

The shot of the bat being dragged across the ground was really to shows that they is bats, and this bat is different because it has nails in it- which we plan to buy one and modify it ourselves. Highlighting how dangerous the antagonists are.  

I suggested that Lizzie and her brother should run into their home and slam the gates shut to represent their desperation to shut out the dangers the outside brought them. In between the two gate shots, is copy 'FEAR', as we planned to begin using copy of key words and themes in the story, towards the end, building up to the climax. We placed certain shots of imagery with the copy to reflect each other and help encourage ideas in the viewers mind. For example, the next copy is 'RIVALRY' so we followed it with a group shot of the two groups standing opposite each on (this comes closer to the climatic scene)




































Sheet 13,14&15
We had lots of ideas about hands reflecting emotions and relationsips. The clenching fist goes with the rivalry copy to symbolise the anger, while the other shots of hand hold showed the 'TRUST'. In reflection to this part of the storyboards, I feel that we all shared the same vision by this point and never really documented much in drawings because we spent more time discussing ideas vocally and debating things like organisation because we wanted to get on with the production processes very quickly. 

We came up with other themes linked to the plot like 'SURVIVAL' which evoked contradicting ideas of the nailed bat swinging down towards the camera in the murder of Fiona Grey, aimed to shock the viewer to a degree. 

Inspired by the biblical connotations of Eves name, we added 'BETRAYAL' creating the plot line that  Lizzie's brother was taken by the antagonistic group, and Eve had to betray her own group in order to retrieve him- although I thought this idea wasn't effective in theory, since it's a trailer, there could be other sub plot lines of betrayal. It can also function to represent the conflict, since it juxtaposes our previous copy of 'trust' and connotes typical teen relationships that the demographic might relate to. 

The two top frames on sheet 15 reflect our 'betrayal' idea, showing a new location as the archway entering an old church near Lizzie's house. The setting in this scene acts as the 'new name' for the bad group because they murdered Fiona, the graveyard was selected to be the background as they have earned the connotations of death. 

Sheet 17
This briefly depicts the climax of the trailer. We wanted a sort of battle between the groups to end on, much like THG. It captures Michael and Haden intensely facing one another as patriarchs of their group, their fight was the main focus. 

 We want to look at other group members like Selene taking on Eve, I suggested that  Selene grabs Eve from behind and pulls her hair back, allowing herself to whisper in Eve's ear 'watch them die'. This adds character depth to Selene, being a sociopath like Haden, while gaining sympathy from the audience for Eve since she is in danger. 

We planned that the ending is in slow motion of Haden slamming Michael to the ground. We thought watching the bad conquering good really emotionally involves the viewer, and encourages them to watch the film to see if bad really does beat good, as it's unusual. The use of slow motion is good to bring the trailer to an intense end as it endures the climax for effect. 

We decided from our narrative that the importance of time within it was a clear indicator for the film title, we couldn't think of many others so we went with it. We also appreciate the fact it's a one word title. so it's memorable, hitting and relates to everyone and the world, reaching a wide demographic because it doesn't sound like a teen movie as such. 

Here are some extra sheets: