Plot blocking - completed by Beth
- 1. PLOT BLOCKING Completed by Beth Ross
- 2. As previously stated, our film will be based upon the main character in our opening sequence slowly going insane. We have decided to portray this by bringing aspects of their past in to the present day and showing the effects through all aspects of making our opening sequence.
- 3. Our opening sequence will open with an establishing shot based in the present day, which we have decided will be a panning shot of an averagely designed kitchen, with the main character stood at the sink. This will most likely be a still, while the camera moves, as this will give an unsettling vibe to the audience, as well as setting the scene and featuring the main character. The second scene will feature a mix between close up and extreme close up shots of the main character completing every day tasks around the kitchen, such as turning the kettle on, or the gas on, and finally beginning to wash up. This will introduce the audience to the setting, and present the real life aspect of our film.
- 4. Next we will show the title sequence. This will be where we display the actors, camera-work, sound and directors names. We have chosen to place this here as from looking at existing opening sequences, we have found that this is commonly shown at this point in a film opening, we have not yet decided if we will present these over the footage we filmed or on a different screen. The title of our production will continue on from our title sequence. Here we will display the name of our film, which we have not yet decided on. This will most likely be presented in bold, and in a contrasting colour to the background to make it stand out. Such as white writing on a black background.
- 5. Following on from the title, the screen will cut to a medium close up of the main character washing up at the sink. We have chosen this specific task as it allows us to continue on from the scene which came before the titles, which will present continuity, as well position props in the shot to help our narrative. From this shot, we will then use an over the shoulder shot in shallow focus, shifting from the main characters face, on to the childhood photo in a frame on the windowsill. We believe that this will be an effective shot as it will allow us to show that the main character is solely focusing on the photo, as this is a main aspect of our opening sequence.
- 6. The camera will then cut to a close up of the main characters face again to add emphasis and show detail of the fact that she zones out. This is the beginning of presenting to the audience that the character is troubled. We believe that this will be effective and draw attention to the photograph. We will then introduce the use of flashbacks to the audience. This first flashback will be of a happy time in the characters life. At this point the character will be around the age of five years old, and will be presented to be running in a cave holding a toy in her hand. The audience will also hear giggles and her footsteps. For this, we will use hand held camerawork as this will be more realistic and draw the audience in.
- 7. The scene will then cut back to the reality of the present day. In this medium close up shot, the main character will be shown to stop washing up, as she reaches for the photograph on the windowsill in front. This will denote to the audience that something to do with the photo is causing her to have flashbacks of her as a child. We will then proceed to present a close up of the photo, to confirm to the audience that the photo has a significance. This will then most likely fade in to a close up of the eye of the main character to show emotion. This will have the effect of connoting the emotional connection between the photo and the character.
- 8. Another flashback, and also the final one of our opening sequence will then be displayed. This will contrast with the previous flashback which contained an idyllic vibe. We intend for this to follow on from the previous flashback, of the child running, and in this one show the child to immediately stop running, as we then use a point of view shot to show a large silhouette standing in the cave with her. The screen will then cut to another close up of the main characters facial expression, showing her in a dazed look. We have chose to do this as we believe that it will draw in the flashbacks with the present day effectively and emphasises the connection between the two scenes.
- 9. We will then continue showing the falling photo frame as it decreases in speed to fall in slow motion. We will do this through editing. We have chosen to put this in action for a more dramatic effect. Whilst this is on screen, we intend to also link back to the dystopian flashback, and show the child dropping the toy she is holding from the same point as the photo frame is being dropped. We believe that this will be dramatic and show the audience that it is the same person in both the flashbacks and present day. The screen will then cut to a close up of the photo naturally slipping out of the characters hands. This will denote to the audience that the character is traumatised and losing touch with both her senses and reality. We will portray this in a naturally paced motion which will show lack of control, however, we will only use this pace for about half way of the fall.
- 10. The screen will then switch back to a close up of the main characters face in the present day, as she returns from being in a daze. We have chose to do a close up again here to emphasise the character almost being in a trance and then her confusion of when she comes back to reality. The final shot of our opening sequence will be an extreme close up in shallow focus of the cracked photo frame on the floor. This shot will connote the damage caused by the past as well as holding the audience in suspense of how the story will unravel to show the characters past.