Storyboard

This storyboard covers the main plot-line for our film opening. The character goes through various ageing processes and continues drawing throughout. He visits a park regularly to draw a specific woman then one day she comes to talk to him. In between this we see flashes, possibly into the future of the character standing over the body of a woman, who is revealed to be the woman from the park.

Production Schedule

Production Schedule - Today we will go to the park and film Juliet preferably we will also film Pip. The filming will consist of the scenes in the park, these will include Pip sitting on the park bench drawing whatever comes to mind, and Juliet notices his weird nature. This is the scene where the two characters are first introduced. In this scene Juliet is wearing casual clothing that are quite lively colored, however Pip goes in contrast as he will be wearing dull colors.

Today we will go to film Pip's room. The filming will consist of the scenes where Pip first gets thrown into his room by his father. We will also shoot the scene where Pip starts to notice his love of drawing and we will show him getting older to let the audience know that time has passed and he is still obsessed with drawing. This scene has been consistently re shot to ensure that we have made the scene as good as possible, we also introduced the two younger boys who are acting as Pip at the age of 11 and also at the age of 14.

Today we are going to re film the Scene in Pips room. This is due to dull lighting, so to be on the safe side we will buy some candles and re film the room scene again.

Today we had our first taste of editing using Final Cut Express.

Today we need to re shoot the first scene as we have changed our Pip character. Originally Benjamin Bazely was to be cast as pip. This idea was scrapped however due to unfeasible filming hours. The new actor was available when necessary and so was a more appropriate choice. We changed the character of Pip from being Ben Bazely to being Tommy Carver-Chaplin. We then scrapped that idea because the two other actors were the brothers of Michael Godfrey so we used Michael instead as him and his brother look alike. Other actors necessary for the film are needed to play the two younger versions of Pip at approximate ages of 11 and 14.

Today we went to film some more park scenes.

Today we went to Pips park to film Pip drawing Juliet.

Today we went to Pip room to film the murder scene.

Today we went to re-film the murder scene because there was problems with the lighting, so we used candles.

Today we shot our final scene.

Today we uploaded our finished film to Final Cut.

Today we cut everything together and put the film in sequence from start to finish.

Audience Feedback by Amarni

Props - Pram and Toys

The main reasoning for Juliet's regular visiting of the playground is her small child, of whom she plays with and socialises with other parents. It proved too difficult to attempt to find actual baby with parents willing to let him feature, so instead we have omitted any footage of the baby instead. However, the baby is still a necessary addition so to add to our props we have been fortunate enough to get both a pram, a doll (the baby) and several toys. This will allow us to create a deeper sense of loving character for Juliet, and make her seem less out of place.

We managed to get these props through the fortune of Wandsworth Oasis charity, which has been especially charitable to lend us the items for filming.

Props - Clothing: Pip

The various characters in the film are going to wear a variety of different outfits that represent what type of person they are. This jacket is similar to what Pip will wear. The dull colours represent the bland nature of Pips life with a routine repeated over and over. The hood is large and concealing which is representative of Pip's antisocial nature and his desire to hide away from society.



This is similar to what Pip will wear on the lower bottom. Jeans are long-lasting, wear proof trousers. Thus it is only likely that they will be Pip's primary means of clothing. However, as the picture suggests, we will still intend to suggest a heavy level of wear and lack of washing. This will be simply achieved by grass-rubbing and similar mess.

We intend to purchase these clothes from a charity shop, providing to a worthwhile cause.

Revised logo

This is the result of our revision of the original logo. The main suggestion supplied to the production group regarding our original design was the lack of any text to state the name of the studio. This is considered a "must" for any professional logo, and thus we added two different fonts to state 'Tiger Door', using two very stylistically different fonts to juxtapose each other. Furthermore, we decided to remove the colouring and detail as we believed it detracted from the purpose of a logo; logos should remain simple, easy to replicate, and the blur made this difficult. Furthermore, the logo should represent the movies that the studio make, so consequently we decided to make the logo appear more minimalist, more simplistic.

Props - Ashtray

For our film we required a number of props.

One of these props is an ash tray which is the presumed murder weapon. We have specifically chosen this ash tray because it is extremely cheap, as well as being a see-through glass ashtray; this is particularly useful as it will capture the blood it is covered in more visably.

http://www.amazon.co.uk/Barnett-14262-Stack-Ashtray-10-5cm/dp/B0016UW21S/ref=sr_1_3?ie=UTF8&s=kitchen&qid=1266936464&sr=8-3

The original short story that inspired the film

This piece of writing is the original short story that was submitted as my (Tommy) Personal Imaginative coursework for Year 11. Although some minor details have been changed, it remains the same basic idea through the film and is considerably faithful to the original piece.

Thirty six years previous Pip sat alone. His room was small, bleak. At six years of age, Pip’s identity was beginning to form. Some habits would carry with him until the grave. This day was a good day, however. The currently optimistic small and blonde haired boy had recently found the wonders of drawing, having kept the broken and blunted pencil from school that no one else wanted; much – he thought – like himself. This day Pip did not see stripped, colourless walls. He no longer saw shades of gray. He saw a masterpiece. His corner was his studio and for now, absence of colours would not hold him back.
Thirty six years of progression found Pip still drawing, though less optimistic. Not only had his age progressed: as had his artistic talent. What was previously a childish montage was now a myriad of vibrant colours, consisting of a broad range of Pip’s everyday observations (though only those bursting with love and squalor.) Initially a set of walls, his surroundings had transformed into a gallery and, within the hour, Pip would head to the park to await new inspiration. Much like every other day.
Thirty six years of repetition. Rather than describe every day previous, this is where the tale begins as, initially, the song remains the same. Donning a thick, snow trimmed crimson parker, despite constant, dripping sweat caused by the painful season, Pip made way to the common. While his strands of gold had only blossomed, long since passing his shoulder blades, apparently growth had not similarly favoured him; his stunted, skinny figure barely reached five foot two. To most, this skeleton of a man seemed awful strange not even considering his peculiar routine. Because of this, his stride was short and travel was slow. After a consistent seventeen minute walk, from door to seating, Pip arrived at his bench. His personal, everyday seating.
Thirty six years of the same scenery. Directly in front of him drew a rainbow-coloured children’s playground; like moths to a flame it was horded by the easily amused. Beside it the moths matured: a less exciting blue-themed swing, holding up eight hope-to-be Tarzans. There seemed to be little demand, yet it was never empty. Beside this, drawing closer to him as if each area purposely towered him, imprisoned teens boasted their ability in kicking a ball as far and as accurately as possible. Though these were really just the boys, the girls stood to the side cheering on their selected partner. Now, directly behind Pip groans and thumps were continuous. Several courts housed every adult who longed for a sense of worth and enjoyment. But this was just tennis. Finally, smaller than the playground to its right, couples and their screaming, wheeled sources of life united upon golden pits and assortment of coloured block shapes. This was the cycle of life, and Pip observed it every day.
Thirty six years but only four consisting of Robin. While Pip had not had much experience, he was sure of something: Pip loved Robin. Robin had been coming to the park for four years now and Pip had never not been fascinated by her. While he had no intention of perusing his interest, it did not matter: she was needle in a haystack; a diamond in a sea of gold. What Pip liked most, quite simply, was that Robin noticed him. It did not matter as to what her justifications were, be it his awkward appearance or his never-ending scribbles, he still loved it. Similarly he noticed her. He knew of her graceful skip, or her twirl. She was an everyday ballerina. She seemingly didn’t mind his gaze; it was like she appreciated his child-like fondness. The butterfly of a woman – with her angelic figure and her symmetric, cream face – was dictator of the strange man’s wonderful mind; his emotions and feelings, his thoughts and worries, and she never once considered the consequences. Even if it killed him, she giggled and waved; she was the sweetest of fascists.
Thirty six years of familiarity and only one day for it to change. One day of hope. Usually, the goblin-hunched outcast would head straight home and begin his daily strife – today would be different. Today his pencil would remain blunt, his weapon of choice forgotten. Enter Robin: she glowed a checkered charcoal and white waist coast concealing a puffed, crimson shirt. Beneath, black jeans clearly too small for her over proportioned body were pushed to their limits; they were quite suggestive, no doubt a lure (though Pip had not so much as considered it.) “Excuse me,” she said, sweetly perching beside our hero, though there was no need – he had followed her movement since her entrance; he knew of her coming and had already adjusted position. “I hope you don’t mind me asking,” she continued, “but what is it you spend so much time drawing?” His blank page held no clues. A cluster of emotions hit the poor, lonely dweller.
“You” was his somewhat belated response, in return receiving an – albeit seemingly slightly confused – warming smile in return.
Thirty six minutes later, Pip laid motionless, scarlet splattered ashtray in hand, staring at the beautiful corpse beside him. His mind drifted to the immediate past, considering the selfishness of his wrong-doings. She had been kind enough, after all, to invite him in and flatter a noticeable starved wreck with a buffet of biscuits and similarly smiled snacks. Such hospitality was appreciated, but Pip couldn’t help being brought to tears – he’d never felt so loved, ever. She had comforted, and he lunged. He’d say monster embraced him, but it was really just a little boy in a stripped, colourless room. Both then and now, he didn’t regret it – anything. He let the plastic bottle slip to the bed and outstretched his hand, groping hers beside. Their fingers entwined, he reached around the back of her head and hugged her towards him. Together they laid.

Fake Blood Recipe

For our thriller opening we required fake blood for some scenes and for this we had to find a recipe. We looked through various and picked out some possible choices.

Realistic Looking Blood:

• 2/3 cup Corn Syrup
  
• 1/3 cup Water
  
• 5 Tablespoons Corn Starch
  
• 3 to 5 Teaspoons Red Food Coloring
  
• 2 or 3 Drops Green Food Coloring

This recipe was described as looking realistic. While it may look good generally it may not have the consistency of real blood which may be noticeable in the film.

Chocolate Blood:

• 1/2 cup water
• 1 tablespoon cocoa powder
• 3 or 4 tablespoon corn syrup
• 1/2 to 1 teaspoon red food coloring
• 2 drops yellow or green food coloring (optional)

This blood was described as looking real and having the consistency of real blood and drying like it too. This would be a perfect recipe, however the ingredients required may be more expensive than other recipes.

Rough Storyboard

This is a rough storyboard of the beginning scene to the opening of our film. The first shot is a long shot focussing on Pip as a child. This shot is used to represent his isolation and lonelyness as there are no others in the room.

The camera then cuts to a medium close up as Pip discovers a pencil. His face breaks into a grin and realism he has found his passion. The camera then zooms into an extreme close up on the pencil and when it zooms out Pip appears considerably older. This connotes that despite the passage of time Pip still draws and creates art for himself. Behind him are bits of paper scattered around the room connoting he has drawn a lot and discarded them, searching for the perfect picture.

The camera then zooms in on his face and through editing his face will appear to age considerably, he will grow a beard and his hair will become much longer connoting again the passage of time. The camera will then cut to a medium shot. His room will now be much more messy. Littered with papers stacked and strewn around the room. In the background we see a mattress that he will have been sleeping on. This connotes that he is maltreated by his parents/parent and is isolated from the outside world. The camera will then cut to an over the shoulder shot allowing the audience to see what he is drawing. The camera then zooms in on the drawing, showing creepy, disturbed images connoting his mental instability. The camera then pans across his wall, showing various drawings he has stuck up there. In amongst these drawings some will stand out with different titles painted onto them in strange handwriting such as the film name, production company and starring actors.

The camera then zooms out from the wall allowing to see the whole room. The character will be sat in the far corner, with nothing but paper scattered around the floor and a mattress with no sheet or pillows in the opposite corner. This will be an establishing long shot, used to show the character's extreme isolation.

Location Ideas

This is an image of a bench in a local park. The bench is very important to the film because it will be seen regularly as the character grows older. The image in the background appears a busy everyday road which presents a contrast to the lonely and isolated character of Pip.

This image is an idea for a location we may use in our thriller opening. It is an adults bedroom with double bed connoting that this is a family house. This is perfect for our scene because the character of Juliet is a married woman with child.

We finalized three certain locations. Tooting Bec Common will be the setting for the park scene. This area is perfect for the scene with a bench overlooking a playground. The characters of Juliet and her baby will be able to interact with climbing frames and swings while Pip watches from the shadows.

For Juliet's bedroom we used Michael's mum's bedroom. It has a double bed and a homey feel which is resplendent of a family home, which is exactly how the character of Juliet is represented.

For Pip's room we found a room in school which is perfect. It is practically empty and can be emptied fully if necessary. Blinds can be used to block out light and give a disturbing and isolated atmosphere, which fits Pip's character design perfectly.

Here is another inspiration for our thriller. In 'hana bi', there is a minor character who is injured early in the film and loses the ability to walk, and in turn his career. This forces him to find new hobbies, and he turns to art; this scene captures this character taking inspiration from all of the beauty he sees and turning each piece into a distinctive work of art. This mirrors how Pip chooses to draw that which he sees around him, though admittedly to much less skill, and the camerawork in 'Two Smiling Faces' is likely to mirror the style of 'hana bi' as a homage.

Ben's Audition Tape as Pip

Here is a audition tape for our primary actor for Pip, Benjamin Bazley. We had yet to find a set, only had one camera and limited time, and didn't utilise any props that would appear in the final version. This explains the limited camera shots and strangely homely bedroom. We only used two different takes to make the edit, and this may justify any quality issues. We were quite impressed on first impressions.

This image is promo art of the film 'One Hour Photo'. In the film, Robin William's character is obsessed with the photographs of each of his clients, working in a retail photography shop. In his obsession, he amasses a huge collection of photographs as a wallpaper -- most specifically of his favourite family of individuals. This was the main inspiration for the film, and you can draw similarities between the characters in the film and Pip and Juliet.

Tommy

Font Research

These are temporary ideas of our typography and titles. These fonts are effective because they are conforming to the thriller genre and they all look like they are written by children and children represent inferiority which makes them appealing to our genre of a psychological thriller.

Two smiling Faces (?) Soundtrack

This an idea for a soundtrack to our intro. Starting out quiet it slowly progresses into a climax with multiple instruments. The creepy, sad tone of the piano combined with the slow but moving violin creates a dark, isolated atmosphere, which represents the childs loneliness and the neglect he has suffered. It also creates the image of a lonely, dark place, which is exactly where the child resides for the majority of his life.