Hunted shooting script
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Hunted shooting script Document Transcript

  • 1. HUNTED Written byCerys Aicken and Rebecca Roulstone
  • 2. TITLE: HUNTED1 WOODLAND, ENGLAND – NIGHT – 2012 CAMERA, ESTABLISHING SHOT OF AN EERIE WOOD, TO SET THE GENRE TYPE TOWARD THE AUDIENCE. WITH A THUNDERROOL PLAYING IN THE BACKGROUND TO CREATE SUSPENSE. CUT TO2 HOUSE SCENE, ENGLAND – NIGHT – 2012 INTERTITLE SHOWN TO SET THE ICONOGRAPHY,THEN NEXT SHOT A BOOK DROPPED INTO SHOT TO REIENFOURCE THE PUSH FOR THE PLOT, WHICH IS AGAIN FOLLOWED BY THREE OTHER SHOTS OF THE BOOK AND OF A SKULL HIGHLIGHTING AND FORSHADDOWING DEATH. CUT TO3 FIELD, ENGLAND – NIGHT – 2012 PANNING SHOT OF FIELD AS CHARACYER ENTERS FROM THE LEFT, NOT SHOWING EXPRESSION AND FOLLOWS THE MOVEMENT OF THE CAMERA SO THE AUDIENCE ARE FOLLOWING THE CHARACTERS MOVEMENT CUT TO4 FIELD, ENGLAND – NIGHT – 2012 LONG SHOT OF GIRL DIGGING A HOLE IN A FIELD, CAMERA POSTIONED BEHIND, EERIE MUSIC. CUT TO5 FIELD,ENGLAND – NIGHT – 2012 CAMERA POSTIONED OF THE FLOOR AMOUNGST PLANTS AS CHARACTER WALKS INTO FRAME THEN CONTIUES TO WALK OUT OF SHOT CARRY THE SHOVEL LINKING WITH THE SCENE BEFORE.6 PARREL NARRAVTIVE – NIGHT – 2012 THIS PARTICULAR SHOT IS COMBINED WITH ANOTHER SHOT ONE IS A POINT OF VIEW OF A WOODLAND AS THE CAMERA SWINGS IN A PANNING ACTION AND THE OTHER NARATIVE IS THE GIRL CRAWLING FROM UNDER THE BED AS THE CAMERA IS POSTIONED OF THE FLOOR SO THE AUDIENCE ARE LEVEL WITH THE CHARACTER INCREASING THE SCAR FACTOR. THE STROBE LIGHTING ENHANCES THE TWO NARRATIVES.7 HOME, ENGLAND – NIGHT – 2012 CAMERA LOOKING UP AT LIGHTS SWINGING LINK THE SCENES WITH THE USE OF STROBE LIGHTING ALSO GIVES A PARANORMAL FEEL TO THE TRAILER. CUT TO
  • 3. 8 HOME, ENGLAND – NIGHT – 2012 DARK LIGHING, ONLY LIGHT A TOURCH SO THAT AUDIENCE FEELS AS IF THEY ARE LOOKING AROUND THE DARK HOME, BOOK THEN FOUND IN THE LIGHT. HEAVY BREATHING TO INCREASE SUSPENSE.9 CAR, ENGLAND – NIGHT – 2012 OVER THE SHOULDER SHOT OF THE TWO MAIN CHARACTERS, FRIEND REACHES FOR BOOK THEN GEORGIA GRABS IT, DIDALOUGE USED TO CREATE THE REALISUM IN THE DIEGISIS. CUT TO10 WOODLAND, ENGLAND – NIGHT – 2012 NARROW DEPTH OF FIELD OF TREE BARK AND GEORGIA IN BACKGROUND, TO CREATE A DIVERSE CAMERA ANGLE. MID SHOUT AND EXPRESSION HIDDEN WITH HAIR TO CREATE A TENSE AND ERRIE CHARACTER.11 WOODLAND, ENGLAND – NIGHT – 2012 CLOSE UP SHOT OF CHARACTER TO HIGHLIGHT HER EXPRESION SO THE AUDIENCE CAN SYMPATHISE WITH HER.12 WOODLAND, ENGLAND – NIGHT – 2012 CAMERA POSTIONED OF THE FLOOR AS GIRL RUNS UP TO CAMERA AND FOOT IS POSITIONED IN THE CENTRE.13 HOUSE, ENGLAND – NIGHT – 2012 EXTREME CLOSE UP ON EYE BEGINS THE FAST PACED EDITING SEQUENCE WHICH IS FILLED WITH VARIOUS SHOTS TO ENHANCE THE SUSPENSE, TENSION AND INTEREST OF THE AUDIENCE. MUSIC BECOMES FASTER IN TEMPO AND LOUNDER TO CREATE THE SUPESNESE AND TENSION AS TRIALER BEGINS TO REACH A CLIMAX.14 TUNNEL , ENGLAND – NIGHT – 2012 HANDHELD CAMERA EFFECT THE ENHANCE THE REALISUM OF THE SHOT, AS THE TOURCH SEARCHES THROUGHOUT THE TUNNEL.15 INTERTITLE MID SHOT OF TWO CHARCATERS AS ELLIE THREATENS TO THROW BOOK OVER THE SIDE, AS GEORGIA SCREAMS ‘NO’SHOWING THAT THE BOOK HAS TAKEN OVER.
  • 4. 16 HOUSE ENGLAND – NIGHT – 2012 EXTREME CLOSE UP OF A HAND BEING SLICED WITH A KNIFE HIGHLIGHTING THE GORE TO AGAIN SHOW THE GENRE OF THE TRIALER.17 HOUSE , ENGLAND- NIGHT – 2012 MID SHOT OF GIRL AGAINST WALL LINKING WITH THE SCENE WHERE SEE WAS AGAINST A TREE CONNECTING SCENES WITH VISUAL MOTIFS.19 WOODLAND, ENGLAND – NIGHT – 2012 RUNNING THROUGH WOODS, HAND HELD CAMERA EFFECT TOINCREASE REALISUM20 WOODLAND,ENGLAND – NIGHT – 2012 LOOKS AT CAMERA TOURCH ON FACE, TO HIGHLIGHT EXPRESSIONMID SHOT21 HOUSE , ENGLAND – NIGHT – 2012WASHING BLOOD OF HANDS, EXTREME CLOSE UP CAMERA SLIGHTINGBLURRED SO AUDIENCE HAVE TO CONCENTRATE AND LOOK IN DEPTH ATTHE SHOT.22HOUSE ,ENGLAND – NIGHT – 2012SHADOW IN DOOR FRAME, CREATES ERRIE FIGURE AND ENHANCES THEDANGER APPROACHING, LONG SHOT.23 WOODLAND, ENGLAND – NIGHT – 2012TOURCH DROPPED AT FEET, AS CAMERA POSTIONED ON FLOOR TOSHOWS THE AUDIENCE THE A SENSE OF MYSTERY AND LEAVES THEMWONDERING WHOS CHASING HER.24 HOUSE , ENGLAND – NIGHT – 2012FAST FORWARD FACE EFFECT TO CREATE A PARANORMAL SUB GENRETHE IMAGE IS ASLO AN EXTREME CLOSE UP TO HIHGLIGHT THECHARACTERS EXPRESSION.25COUNTRY ROAD ,ENGLAND – NIGHT – 2012
  • 5. LOW ANGLE SHOT OF GIRL TO SHOW AUTHORITY AND LONG SHOT SOTHE AUDIENCE CAN SEE HER BODY LANGUAGE.26HOUSE , ENGLAND – NIGHT – 2012REWIND OF BLOOD DRIPPING, OF FOOT EXTREME CLOSE UP SO THEAUDIENCE DON’T KNOW WHO MIGHT BE DEAD, LEAVING A SENSE OFMYSTERY. CONVENTIONAL TO HAVE BLOOD DRIPPING BUT WECHALLENGED THIS BY REWINDING THE SCENE.27HOUSE ,ENGLAND – NIGHT – 2012METAL OBJECT SCRAPPED ALONG RAIDATOR, SHOT MATCHES THE IMAGETO CREATE REALSIUM WITHIN THE DIEGISIS AND IMPLYS ONE OF THEWEAPONS USED IN THE FILM.29 HOUSE ,ENGLAND – NIGHT – 2012CANDLE LIT FACE, CRETAE EEIRE LIGHTING AND THE EXTREME CLOSEUP AND PANNING OF FACE HIGHLIGHTS EXPRESSION SO THE AUDIENCEKNOW THE CHARACTERS EMOTIONS.30 FIELD ,ENGLAND – NIGHT – 2012LOW ANGLE SHOT BOOK DROPPED ONTO CAMERA, THIS IS JUST ACREATIVE WAY TO CAPTURE THE SHOT INSTEAD OF A MID OF LONGSHOT, ALSO MAKES THE AUDIENCE JUMP AS THEY MAY NOT EXPECTIT.31 HOUSE ,ENGLAND – NIGHT – 2012GIRL SCREAMING, IS CONVENTIONAL ENDING SHOT OF A HORRORTRIALER AS IT FINISHS THE INTENSISTY OF THE FAST SEQUENCE SOTHE AUDIENCE ARE DRWASN TO WATCH THE FILM.32 TITLE OF FILM