Showing posts with label G. Screenplays. Show all posts
Showing posts with label G. Screenplays. Show all posts
Tuesday, 5 May 2015
Monday, 5 January 2015
Draft 3 - Remnants
ext. COUNTRY ROAD. evening
we see a car drive rather quickly down an empty dusty, but maintained road.
ext. WALTER'S HOUSE. evening
we see the car from the other shot pull up alongside WALTER'S house, TOM exits with a cigarette hanging loosely between his lips, he takes a deep and long drag from the cigarette and throws it to one side
TOM
(to the car driver)
see you later
We hear TOM'S ride speed away behind him. Its 5:30, the house is the only one for a good half a mile. the weather is good but slightly cloudy. TOM walks up to the front door of the house and knocks firmly, almost straight away the door swings open and TOM is greeted by WALTER JOHNSON, a 40 year old man who appears very neat and well-presented, he is wearing a fitted beige cardigan with neatly ironed brown trousers. WALTER smiles and invites TOM inside.
As TOM walks in past WALTER we see his face react badly to the smell of cigarettes on TOM'S clothes.
we see a car drive rather quickly down an empty dusty, but maintained road.
ext. WALTER'S HOUSE. evening
we see the car from the other shot pull up alongside WALTER'S house, TOM exits with a cigarette hanging loosely between his lips, he takes a deep and long drag from the cigarette and throws it to one side
TOM
(to the car driver)
see you later
We hear TOM'S ride speed away behind him. Its 5:30, the house is the only one for a good half a mile. the weather is good but slightly cloudy. TOM walks up to the front door of the house and knocks firmly, almost straight away the door swings open and TOM is greeted by WALTER JOHNSON, a 40 year old man who appears very neat and well-presented, he is wearing a fitted beige cardigan with neatly ironed brown trousers. WALTER smiles and invites TOM inside.
As TOM walks in past WALTER we see his face react badly to the smell of cigarettes on TOM'S clothes.
INT. WALTER'S HOUSE. EVENING
WALTER
Hi there Tommy, you're The babysitter right?
TOM
Yeah, TOM, that's me!
WALTER
Nice to meet you Tommy, my names is Walter.
TOM
Nice to meet you.
WALTER
Firstly Im guessing your a smoker, there will be no smoking inside the house, and you're not to leave any of that tobacco laying around anywhere, it looks revolting, secondly I would like to show you around the kitchen so you know where everything is and you enjoy your time here.
TOM
Ah, ok then, thanks
WALTER
I can imagine that you'd rather be out with your friends tonight instead of spending time here at a strangers house!
TOM
Aha, well yeah I guess but someones gotta do it haven't they? I'm saving up for a new bike so the money is going to come in handy!
WALTER
I suppose you're right TOMMY, someone has to! Well I'll show you around the kitchen to start with, I'm sure you'll know everything but I like to run a tight ship here.
WALTER proceeds to walk TOM through to the kitchen.
INT.WALTER'S HOUSE, KITCHEN.EVENING
WALTER
So, you can help yourself to whatever you would like in the cupboards and fridge but please don't touch this food because it is gluten free, and this is part of my special diet.
TOM
Right? Ok no problem, so I can make all the food I want?
WALTER
Yes of course, within reason! I like all of my guests to feel at home. Follow me.
WALTER walks TOM into the lounge where he gives him further instructions.
INT.WALTER'S HOUSE, LOUNGE.EVENING
WALTER
So, you can watch the TV, this remote controls the DVD player and this one controls the TV, and this...
TOM
(interrupting WALTER)
Don't worry, I'm sure I'll figure it out.
WALTER
OK, then, I'll leave you to it - I might be quite late. You are sure you don't mind? Oh and by the way, this is important: it took quite a while to get Charlie off to sleep and he's a very light sleeper. Please, please try to avoid going upstairs. He wakes up at the drop of a feather! So as I say, if you don't mind please don't go upstairs.
TOM
Yeah, sure thing. But what about if he wakes up and I hear him crying?
A hint of a confused look seems to pass across WALTER's face, just for a second.
Walter
Oh...yes. If that happens he usually settles down on his own again anyway. Right I'll be off then. See you later.
WALTER leaves the lounge and exits via the front door. He locks the door behind him.
INT.WALTER'S HOUSE, KITCHEN.EVENING
TOM is seen looking through the masses of foods in his cupboard
INT.WALTER'S HOUSE, lounge.EVENING
TOM slumps down onto the sofa and turns the TV on and begins shoveling food down his gullet.
fade out
FADE INTO
INT.WALTER'S HOUSE, LOUNGE.EVENING
TOM is seen sleeping on the sofa with the TV on in the background, he is awoken by his phone ringing, he quickly pulls his mobile from his pocket, the name on the phone reads LUKE.
TOM
(To the phone)
Yo alright man, what's up?
LUKE
Not a lot , you coming out tonight?
TOM
Nah sorry I can't I'm babysitting for some guy.
While TOM is on the phone he gets up from the sofa and looks at various things while on the phone.
Luke
Haha, what you doing that for?
TOM
I need some money obviously, you should come round here mate, the guy won't be back till late he said and there is loads of food and drink.
LUKE
I think I'll pass mate, sounds pretty shit.
TOM
Alright then man, I wont be here too much longer so I might be out in a bit.
LUKE
It's a bit early for you to be leaving isn't it?
TOM
Its like 10 o'clock?
LUKE
Nah it aint mate, its only 7:30
TOM
Oh my god, I thought it was later than that, I've been asleep for ages
LUKE
Unfortunately not haha
Voices are heard in the background of LUKE'S phone asking for him to hurry up
LUKE
I've got to go man, I'll see you later
TOM
(exhausted/angry)
Yeah, alright.
TOM then hangs up his phone and chucks it down on the table in front of him, he sits up in the seat and puts his hands in his head and sighs, TOM then brushes of various crumbs and empty crisp packets from his body and gets up, he once again double checks the time to make sure LUKE wasn't messing him around, it reads 7:31, TOM looks hopelessly at the clock, and wonders what he's going to do with his boredom. He decides to look around the bottom of the house, as there is literally nothing else for him to do.
TOM continues to walk around the bottom of the house looking at various things, he walks past the bottoms of the stairs and looks up them, he is tempted to go up there but fights the temptation. Although after some thought he decides to venture upstairs so, very quietly, he climbs the large wooden stairs.
INT. WALTER'S HOUSE.landing.EVENING
TOM appears from the top of the stairs and looks straight ahead, he can see a room ahead of him with a child's warning note on the front, it reads 'WARNING, do not enter, Josh's room!' It has obviously has been made by a child. TOM doesn't dare walk down that end of the corridor in fear of waking the child, instead he enters the closest room on the right, the only door to be left a jar, he slowly walks in moving the door open extremely gently, it makes a loud creek and TOM stops opening the door immediately, he looks back towards the child's door, but hears nothing, so he walks into the room.
INT. WALTER'S HOUSE. WALTER'S ROOM.EVENING
TOM walks quietly into the bedroom, being wary of anything which could make noise, the room is very neat and clean, TOM walks over to the bedside table and sees a very expensive looking item, he picks it up and inspects it, but being the rude boy that he is he throws the expensive item onto the table.
Realizing that the upstairs is no more interesting than the lower floor he decides to go outside for a cigarette, so he pulls out a pouch of tobacco along with rolling papers and filters, he starts to roll a cigarette. but as he has rolled it he puts the roll up in between his lips and as he is about to put the tobacco pouch back into his pocket he drops accidentally by the side of it along with all the tobacco onto the clean, cream carpet by the side of WALTER'S bed
TOM
Oh, shit!
TOM quickly covers his mouth, realizing what he has just said and how loud he said it, thinking that it could of woken the child, but once again, he hears no noise from the child's bedroom, TOM looks relieved, but then realizes that he must clean up the mess he has made in WALTER'S bedroom otherwise he will know that he has definitely been upstairs.
TOM bends down by the side of WALTER'S bed and struggles to get every strand of tobacco up from the carpet, but as he reaches slightly under the bed to receive a small lump of tobacco, he notices a small, expensive looking box, being the curious boy that TOM is he pulls the box out from underneath the bed, he then sees that there is an opened padlock on the front of the box, so TOM takes off the padlock and looks inside, but the box is just completely full up with old newspaper cut outs, TOM'S excitement lowers as he realizes it's nothing interesting, but TOM still pulls out a couple of cut outs and inspects them, they are dated from around 8 years ago and they are about a family who were involved in a car crash and a young child and the mother died but the father survived, TOM then starts to wonder as to why this man has these cut outs under his bed, he goes on to read and realizes that the name of the father is WALTER, and the child who died is named CHARLIE, TOM thinks back to when he met WALTER earlier that night and he introduced himself, TOM then reads on another cut out saying how a grave robber stole a young child's corpse from a recently passed child.
TOM instantly jumps up and walks swiftly over to the doorway of WALTER'S bedroom and looks down the corridor at the child's door, TOM then begins to walk slowly towards the child's door, slowly he grips the door handle, takes a deep breaths and opens the door.
INT.walter's house.charlie's room
The first thing TOM sees as he enters the room is a small nightlight on in the far corner of the room, someones appears to be in the bed, but even if there is a sleeping child, TOM needs to make sure, he walks over cautiously and sees that the child is completely under the covers, as he gets closer to the bedside he begins to notice a foul stench coming from that side of the room and getting worse as he gets closer, once TOM reaches the child's bed he grips the duvet and draws it back slowly, TOM gasps in disbelief to what he has just discovered, a small child's corpse has been put into the bed and has begun to decompose, a strong stench hits TOM and he quickly tries to cover his face and nose in order to try and lessen the smell.
TOM moves slowly away from the bed and sits down onto a small child's chair which is in the corner of the room, he places his hands in his head and stares at the rotting body in the corner of the room, he gags slightly but manages to hold back the vomit. TOM decides then that he needs to call someone and he pulls out his phone and goes to call LUKE, but the call fails and his phones alerts him that he has no signal, he tries to move his phone into an area higher up which could get some signal but it's no use, so decides to go downstairs in order to find some better signal.
As TOM begins to walk down the hallway he hears WALTER enter through the front door and shout out for TOM.
WALTER
Tom! Im back, you can go now!
TOM turns frantically and rushes back into CHARLIE'S room in a panic, WALTER continues to call out for him.
WALTER
Tom? Where are you!
WALTER'S voice begins to sound more and more angered and he begins to quickly run upstairs.
TOM, who is still in CHARLIE'S room heads for a closet and hides inside, shutting the door behind him.
As WALTER reaches the top of the stairs he notices that CHARLIE's room door has been opened, he runs quickly down the hall and into the room, he searches briefly for TOM before sitting down next to his deceased child's body.
WALTER
Well well CHARLIE, I have no idea where your baby sitter went, I hope you didn't scare him away you naughty boy! I'll need to find him as he will have to be able to keep our little secret, won't he? What? You want a bedtime story before I go? All right then, but I will have to be qquick. We don't want Tom to tell anyone do we?
WALTER goes on to pick up a small pile of books from the side of the bed.
WALTER cont'd
So Charlie, what book will it be today! Ooo this one sounds good, I'll choose for you tonight, I'll let you choose tomorrow!
TOM is left inside the cupboard as he listens to WALTER read his dead child a bedtime story.
Sunday, 4 January 2015
Draft 2 - Remnants - Celtx format
ext. WALTER'S HOUSE. evening
TOM arrives at a large detached suburban house at around 5:30, the house is the only one for a good half a mile. the weather is good but slightly cloudy. TOM walks up to the front door of the house and knocks firmly, almost straight away the door swings open and TOM is greeted by WALTER JOHNSON, a 40 year old man who appears very neat and well-presented, he is wearing a fitted beige cardigan with neatly ironed brown trousers. WALTER smiles and invites TOM inside.
INT. WALTER'S HOUSE. EVENING
WALTER
Hi there! I believe you are Tommy? The babysitter right?
TOM
Yeah, TOM, that's me!
WALTER
Well, nice to meet you Tommy, my names is Walter.
TOM
Nice to meet you.
WALTER
If you don't mind I would like to show you around the kitchen and lounge so you know where everything is and you enjoy your time here.
TOM
Ah, ok then, thanks
WALTER
I can imagine that you'd rather be out with your friends tonight instead of spending time here at a strangers house!
TOM
Aha, well yeah I guess but someones gotta do it haven't they? I'm saving up for a new bike so the money is going to come in handy!
WALTER
I suppose you're right TOMMY, someone has to! Well I'll show you around the kitchen to start with, I'm sure you'll know everything but I like to run a tight ship here.
WALTER proceeds to walk TOM through to the kitchen.
INT.WALTER'S HOUSE, KITCHEN.EVENING
WALTER
So, you can help yourself to whatever you would like in the cupboards and fridge but please don't touch this food because it is gluten free, and this is part of my diet plan.
TOM
Right? Ok then, so I can make as much as I like?
WALTER
Yes of course, I like all of my guests to feel at home. Follow me.
WALTER walks TOM into the lounge where he gives him further instructions.
INT.WALTER'S HOUSE, LOUNGE.EVENING
WALTER
So, you can watch the TV, this remote controls the DVD player and this one controls the TV, and this...
TOM
(interrupting)
I'm sure I'll figure it out.
WALTER
OK, then, I'll leave you to it - I might be quite late. You are sure you don't mind? Oh and by the way, this is important: it took quite a while to get Charlie off to sleep and he's a very light sleeper. Please, please try to avoid going upstairs. He wakes up at the drop of a feather! So as I say, if you don't mind please don't go upstairs.
TOM
Yeah, sure thing. But what about if he wakes up and I hear him crying?
A hint of a consused look seems to pass across WALTER's face, just for a second.
Walter
Oh...yes. If that happens he usually settles down on his own again anyway. Right I'll be off then. See you later.
WALTER leaves the lounge and exits via the front door. He locks the door behind him.
INT.WALTER'S HOUSE, KITCHEN.EVENING
TOM is seen looking through the masses of foods in his cupboard
INT.WALTER'S HOUSE, lounge.EVENING
TOM slumps down onto the sofa and turns the TV on and begins shoveling food down his gullet.
fade out
FADE INTO
INT.WALTER'S HOUSE, LOUNGE.EVENING
TOM is seen sleeping on the sofa with the TV on in the background, he is awoken by his phone ringing, he quickly pulls his mobile from his pocket, the name on the phone reads LUKE.
TOM
(To the phone)
You alright man, what do you want?
LUKE
Yeah I'm good man, you coming out tonight?
TOM
Nah sorry I can't I'm babysitting for some guy.
While TOM is on the phone he gets up from the sofa and looks at various things while on the phone.
Luke
Haha, what you doing that for?
TOM
I need some money obviously, you should come round here mate, the guy won't be back till late he said and there is loads of food and drink.
LUKE
I think I'll pass mate, sounds pretty shit.
TOM
Alright then man, I wont be here too much longer so I might be out in a bit.
LUKE
It's a bit early for you to be leaving isn't it?
TOM
Its like 10 o'clock?
LUKE
Nah it aint mate, its only 7:30
TOM
Oh my god, I thought it was later than that, I've been asleep for ages
LUKE
Unfortunately not haha
Voices are heard in the background of LUKE'S phone asking for him to hurry up
LUKE
I've got to go man, I'll see you later
TOM
(exhausted/angry)
Yeah, alright.
TOM then hangs up his phone and chucks it down on the table in front of him, he sits up in the seat and puts his hands in his head and sighs, TOM then brushes of various crumbs and empty crisp packets from his body and gets up, he once again double checks the time to make sure LUKE wasn't messing him around, it reads 7:31, TOM looks hopelessly at the clock, and wonders what he's going to do with his boredom. He decides to look around the bottom of the house, as there is literally nothing else for him to do.
TOM continues to walk around the bottom of the house looking at various things, he walks past the bottoms of the stairs and looks up them, he is tempted to go up there but fights the temptation. Although after some thought he decides to venture upstairs so, very quietly, he climbs the large wooden stairs.
INT. WALTER'S HOUSE.landing.EVENING
TOM appears from the top of the stairs and looks straight ahead, he can see a room ahead of him with a child's warning note on the front, it reads 'WARNING, do not enter, Josh's room!' It has obviously has been made by a child. TOM doesn't dare walk down that end of the corridor in fear of waking the child, instead he enters the closest room on the right, the only door to be left a jar, he slowly walks in moving the door open extremely gently, it makes a loud creek and TOM stops opening the door immediately, he looks back towards the child's door, but hears nothing, so he walks into the room.
INT. WALTER'S HOUSE. WALTER'S ROOM.EVENING
TOM walks quietly into the bedroom, being wary of anything which could make noise, the room is very neat and clean, TOM walks over to the bedside table and sees a very expensive looking item, he picks it up and inspects it, but being the rude boy that he is he throws the expensive item onto the table.
Realizing that the upstairs is no more interesting than the lower floor he decides to go outside for a cigarette, so he pulls out a pouch of tobacco along with rolling papers and filters, he starts to roll a cigarette. but as he has rolled it he puts the roll up in between his lips and as he is about to put the tobacco pouch back into his pocket he drops accidentally by the side of it along with all the tobacco onto the clean, cream carpet by the side of WALTER'S bed
TOM
Oh, shit!
TOM quickly covers his mouth, realizing what he has just said and how loud he said it, thinking that it could of woken the child, but once again, he hears no noise from the child's bedroom, TOM looks relieved, but then realizes that he must clean up the mess he has made in WALTER'S bedroom otherwise he will know that he has definitely been upstairs.
TOM bends down by the side of WALTER'S bed and struggles to get every strand of tobacco up from the carpet, but as he reaches slightly under the bed to receive a small lump of tobacco, he notices a small, expensive looking box, being the curious boy that TOM is he pulls the box out from underneath the bed, he then sees that there is an opened padlock on the front of the box, so TOM takes off the padlock and looks inside, but the box is just completely full up with old newspaper cut outs, TOM'S excitement lowers as he realizes it's nothing interesting, but TOM still pulls out a couple of cut outs and inspects them, they are dated from around 8 years ago and they are about a family who were involved in a car crash and a young child and the mother died but the father survived, TOM then starts to wonder as to why this man has these cut outs under his bed, he goes on to read and realizes that the name of the father is WALTER, and the child who died is named CHARLIE, TOM thinks back to when he met WALTER earlier that night and he introduced himself, TOM then reads on another cut out saying how a grave robber stole a young child's corpse from a recently passed child.
TOM instantly jumps up and walks swiftly over to the doorway of WALTER'S bedroom and looks down the corridor at the child's door, TOM then begins to walk slowly towards the child's door, slowly he grips the door handle, takes a deep breaths and opens the door.
INT.walter's house.charlie's room
The first thing TOM sees as he enters the room is a small nightlight on in the far corner of the room, someones appears to be in the bed, but even if there is a sleeping child, TOM needs to make sure, he walks over cautiously and sees that the child is completely under the covers, as he gets closer to the bedside he begins to notice a foul stench coming from that side of the room and getting worse as he gets closer, once TOM reaches the child's bed he grips the duvet and draws it back slowly, TOM gasps in disbelief to what he has just discovered, a small child's corpse has been put into the bed and has begun to decompose, a strong stench hits TOM and he quickly tries to cover his face and nose in order to try and lessen the smell.
TOM moves slowly away from the bed and sits down onto a small child's chair which is in the corner of the room, he places his hands in his head and stares at the rotting body in the corner of the room, he gags slightly but manages to hold back the vomit. TOM decides then that he needs to call someone and he pulls out his phone and goes to call LUKE, but the call fails and his phones alerts him that he has no signal, he tries to move his phone into an area higher up which could get some signal but it's no use, so decides to go downstairs in order to find some better signal.
As TOM begins to walk down the hallway he hears WALTER enter through the front door and shout out for TOM.
WALTER
Tom! Im back, you can go now!
TOM turns frantically and rushes back into CHARLIE'S room in a panic, WALTER continues to call out for him.
WALTER
Tom? Where are you!
WALTER'S voice begins to sound more and more angered and he begins to quickly run upstairs.
TOM, who is still in CHARLIE'S room heads for a closet and hides inside, shutting the door behind him.
As WALTER reaches the top of the stairs he notices that CHARLIE's room door has been opened, he runs quickly down the hall and into the room, he searches briefly for TOM before sitting down next to his deceased child's body.
WALTER
Well well CHARLIE, I have no idea where your baby sitter went, I hope you didn't scare him away you naughty boy! I'll need to find him as he will have to be able to keep our little secret, won't he? What? You want a bedtime story before I go? All right then, but I will have to be qquick. We don't want Tom to tell anyone do we?
WALTER goes on to pick up a small pile of books from the side of the bed.
WALTER cont'd
So Charlie, what book will it be today! Ooo this one sounds good, I'll choose for you tonight, I'll let you choose tomorrow!
TOM is left inside the cupboard as he listens to WALTER read his dead child a bedtime story.
Friday, 5 December 2014
Research Dossier
Script taken from BBC Writers Room: This script is from Series 2 Episode 1 of 'Rev'.
For example in this example script the slug-line says 'EXT. NUNNERY. DAY 1 (1203) - DAY'
'EXT' stands for exterior, therefore we can tell that this scene is taking place on the exterior of a nunnery during the day.
In the second slug-line we can see that instead of 'EXT' there is 'INT' this simply means interior, so the second scene in this script is taking place on the interior of a nunnery during the day.
This script that I chose is known as a shooting script, this means that the script is going to be made into a film/TV series etc. so the numbers you can see in brackets eg. (1203) are scene number which are used by the directors and film team.
Slug-lines must always be written is capitals.
2. ACTION LINES: Action lines come straight after slug-lines, these basically set the scene and describe what is happening within that scene. Action lines must only describe something visual which can be seen in a film, you wouldn't put a characters feelings or thoughts into these because they can not be seen.
For example in my example script the first action line explains about a nun tending to a garden, as you can see this action line really shows what we would be seeing on screen at this time.
3 + 4 CHARACTERS AND DIALOGUE : Character names are for when they are about to talk they help to show what character is saying what. The character names are shown in the middle of the page and always follow with dialogue.
As you can see above when Adam is about to speak his name is written above his dialogue, then whatever he says is written in the dialogue section.
The (PRAYER V.O) shows that whatever is being said is a voice over (the v.o stands for voice over) so you cannot see the person saying this.
Characters names, unless they are being said in dialogue must always be written in capitals.
5. OFF SCREEN CHARACTERS: If a character is talking in the scene but is not on screen when writing their dialogue we write (OS) next to their name.
6. PARENTHESES: When you want to show how a character is saying something you would write how you wish them to say it, for example if JAKE says something happily you would write it like this;
JAKE
(Happily)
Yes I'm very excited
As you can see I wrote the character name followed by the parentheses then followed by the dialogue.
Inner and Outer Presence
Inner Presence is what is explained in a script about peoples thoughts or feeling, things which when the script is eventually made you wont see but feel through the characters actions or movements. Outer presence is what you see in a script such as clothing, actions etc.
Screenwriting Competitions
If I was going to enter my screenplay to a competition I would choose 'BlueCat', a list of their requirements for uploading a screenplay are below.
Inner and Outer Presence
Inner Presence is what is explained in a script about peoples thoughts or feeling, things which when the script is eventually made you wont see but feel through the characters actions or movements. Outer presence is what you see in a script such as clothing, actions etc.
Here is a script which I got from BBC Writer's Room called 'Restless' (Ep 1).
In this script Inner presence is shown when it mentions the young woman as being 'a clever person'. Outer presence in this script is shown when they mention what the Young woman is wearing i.e. 'Wearing sunglasses. Long thick blonde hair. Beads. Tie dye shirt. Hippy-dippy style.'
Screenwriting Competitions
If I was going to enter my screenplay to a competition I would choose 'BlueCat', a list of their requirements for uploading a screenplay are below.
10 Minute Shorts
The first ten minute short I chose was 'Forklift Driver Klaus', I like this short because it makes a sort of dark comedy out of an instructional video/documentary, the way it was made is good and some of the shots used made certain parts even funnier. There is not much talking in it, only the narrator who talks over the entire video, but I think this helps to emphasize certain actions within it and makes it feel like an actual spoof of an instructional video. Overall, a funny short which has been well made.
My second ten minute short is named 'When The Day Breaks', This short is one of my favorite of most I've seen, to start with I find the animation very interesting, it appears to all of been hand drawn and painted in certain parts. This is a seemingly happy/upbeat video to start with but ends up feeling very dark and down, some of the shots used have really increased the eerie feel to it. Certain parts appeared to be real filming instead of animation but it was hard to tell. Overall a great short, keeps you interested.
Theme, Location and Character
My theme for my 10 minute short is based around thriller and horror genre, I wanted it to be set in a large yet empty feeling house, but this house must be in a remote area so that nothing can be accessed for a good mile or two to make the suspense even more. My friend has a perfect house for this, it is set out in the middle of Blofield and is very remote apart from a small house near by, the house is very big and is within large grounds, this would be my ideal set for my short.
"Horror is a film genre seeking to elicit a negative emotional reaction from viewers by playing on the audience's primal fears" Wikipedia. This is what I was trying to achieve with my script, for example getting trapped is a common fear.
Loss is an underlying theme in my script, even though I have made a horror from the fact that a father has lost his child, he effectively has gone made because of it.
Below is link to how an increase of mental illness could occur when a child is lost:
http://www.webmd.com/mental-health/news/20050323/losing-child-increases-risk-of-mental-illness
My character Walter is set on George Harvey from The Lovely Bones, and my overall feel of the 10 minute is set on this film. A link below to the IMDb of the film:
http://www.imdb.com/title/tt0380510/
Audience Research
My main audience gap for my short is around 18-30 years old, I asked my media classmates if they would be interested in watching a horror on this subject, 80% of them answered 'yes', this is a good high percentage, although it may be higher because media students would be more interested in horror films than others. I also asked a higher age group of my parents friends and some of my family, their ages ranged from 30-55, and surprisingly 75% of these said that they would also want to watch my horror short idea.
Existing Media Text
My main influence for my 10 minute short is the film 'The Lovely Bones', it is basically about a young girl who has been murdered by her seemingly normal neighbor and the young girls family eventually find out. There is one specific scene which I took most of my inspiration from, There is a link to it below:
Another example of a media text would be 'Babysitter Wanted' even though it doesn't follow the exact same story line or idea as my short it still has certain elements to it that mine would, below is it's IMDb:
Bibliography:
http://downloads.bbc.co.uk/writersroom/scripts/restless-part-1.pdf
http://downloads.bbc.co.uk/writersroom/scripts/Rev-Series-2-Episode1.pdf
https://www.youtube.com/watch?v=5y719xX1I5U
http://shortsbay.com/film/forklift-driver-klaus-the-first-day-on-the-job
http://shortsbay.com/film/when-the-day-breaks
http://www.bluecatscreenplay.com/submit/
http://en.wikipedia.org/wiki/Horror_film 26/03/2015
http://www.webmd.com/mental-health/news/20050323/losing-child-increases-risk-of-mental-illness
Jack Hunts Research: http://huntjbtec.blogspot.co.uk/2014/12/research-dossier.html
Tuesday, 30 September 2014
Introducing a Character
Here is part of a script/screenplay for the drama 'Shifty', I going to show which areas are inner presence, outer presence and context.
Outer Presence:
The script first describes Chris as a supposed lonely man at the back of a coach, It mentions that he is trying to sleep, he puts his head up and rubs his nose this suggests that he may have been on a long night shift at work or maybe suffers from sleeping problems, he could be travelling to work but from this part of the script it is unsure. Instead of sleeping he pulls out his MP3 and plays Noel McKoy's "Brighter Day", this shows that he may be trying to cheer up by listening to something happy about a 'brighter day' because his might be very dull.
Inner Presence:
There isn't much inner presence, the only thing we get from Chris is that he is trying to sleep so this could show that he isn't very happy because he cannot sleep at night etc, but still it is unsure on why he is sleeping on the bus.
Context:
Chris is sitting on an empty bus which appears to be quite old with its dull beige seats and wood interior. This could show that he may not have much money because he is travelling by coach instead of by car. The dull beige seats may also be trying to reflect him as a person.
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