1. Kaya
Narrative P
Our film is open narrative, Why?
• Our film goes through a story of Laura finding out about the ghosts and the
reasons for why they’re there, however at the end, we have a false ending.
Laura will think she solved the problem and free the sprits, however, they will
live on in the house and the problem will carry on, just not for Laura
• It leaves the audience asking questions at the end
How has it developed since Draft 1?
• Since draft 1, we have had a closed narrative, however, because we have
changed to the thriller genre we want to suit the conventions of how they
generally end their films and they usually have false ending so we have
developed it into a open narrative

2. Kaya
Narrative P
Our film is non-linear narrative, Why?
• Our film is a story that goes from start, middle, to end, however, in order to
show what happened in the house years before we will show cuts from way in
the past to the modern day
START MIDDLE END
How has this developed since draft 1?
• From draft 1 we weren't going to show the past time of what happened
before, however now we are showing important moments from the past in
order for the audience to understand

3. Kaya
Film Theory Q
Tzvetan Todorov – Narrative Film Theorist
On the three stages of theme or concept throughout a
film,
How we will be using his theory…
Equilibrium – Laura has just moved in and her life is normal
Disequilibrium – She realises she's being haunted and they disrupt her life
New Equilibrium – She thinks she let the sprits go and moves house and her life is
equal again

4. Kaya
Film Theory Q
Vladimir Propp – Film Theorist
on characters contained in a film,
Why we wont be using his theory…
The villain – The two ghost are the villain type as they try to hurt Laura and disturb
her life.
The dispatcher – This doesn't apply to our film at all, there is no hero to send off
The (magical) helper – Laura’s best friend Dawn helps her to take the dolls away
The princess or prize – There is no prize and its based on real life
Her father – She doesn't have a father, it’s a broken family
The donor – The film is based on real life therefore no magical objects
The hero or victim/seeker hero – Laura acts as a hero in helping the sprits pass on
False hero – There is no hero therefore no false hero

5. Kaya
Film Theory Q
Claude Lévi-Strauss - Narrative Film Theorist
On Binary opposition
How we will be using this theory
Normal life : Haunted life Past : Present
Laura moves into We see the past
a house expecting happenings of the
a normal life house
She gets haunted
and disturbed We see the present
until she moves occurrences in that
house
out of the house

6. Momentum Pictures..
• Is one of the leading independent motion
picture distributors in the UK and Ireland.
• The company is also owned by Paramount
Pictures.

7. Distributor Film Budget Locations
Momentum Pictures Law Abiding Citizen $53,000,000 Pennsylvania, USA
Momentum Pictures The Woman In Black $15,000,000 Essex
Northamptonshire
Buckinghamshire
(UK)
Momentum Pictures Insidious $1,500,000 Los Angeles,
California, USA

8. We chose Momentum Pictures
because..
• They have distributed a lot of very successful and multi-
award winning British films, like The King’s Speech.
• Their budgets are flexible
• They have also distributed a lot of very good thriller films
as well like The Girl with the Dragon Tattoo and Law
Abiding Citizen.
• We believe they will do well in producing a British thriller
film.
• They distributed films similar to ours about haunted
houses (Insidious and The Woman In Black)

9. Distributor Film Budget Locations
Paramount Paranormal $15,000 San Diego,
Pictures Activity California, USA
Paramount Paranormal $3,000,000 Los Angeles,
Pictures Activity 2 California, USA
Paramount Paranormal $5,000,000 California, USA
Pictures Activity 3

10. Paramount Pictures..
• Are a long established distributing company
• Have distributed a wide range of thriller films
• Work with mostly high budget films
• Mainly distribute films that were filmed solely
in America

11. Warner Bros...
• Have distributed a variety of thriller films
• Is a long established film distribution company
• Work on films with high budgets ranging from
$10 million o £15 million

12. Distributor Film Budget Locations
Warner Bros House on $32 million Los Angeles,
Haunted Hill California, USA
Warner Bros The Shining $19 million Colorado, USA
California, USA
Montana, USA
Hertfordshire,
UK
Warner Bros The Others $17 million Kent, UK
Long Island, USA
Cantabria, Spain
Madrid, Spain
Jersey, Channel
Islands

13. Kaya
Titles S
The ring
During the opening of the ring, we
were inspired by the white colour of
the font making it look quite ghostly.
Also the way the text is not in line
made it seem more childlike, which
we thought would link to our childish
doll sentiments,

14. Kaya
Credits S
Devil - 2010
We were inspired by the credits in Devil because of the way the credits come on
screen then fade away after. We thought it suited our opening sequence in the
sense that it’s calm, just like the beginning of ours and now too attention grabbing,
so that our character is still the main focus.

15. Kaya
Titles/Credits S
Here are some of our idea’s of what we would like to use in our title
The girls who
never leave
We like this for the title because the We like this for the title because it
writing is childish yet still a bit edgy goes with the theme of haunted and
and some what scary. We feel it its quite bold and stands out a lot
suits the opening sequence we will which would suit our opening
make and will add to the mysterious sequence, however, we feel it
feeling of the opening sequence and doesn't really suit the whole film,
suits with the whole film because the text doesn’t really
match to our film.

16. Kaya & Sanel
Titles/Credits S
IDEAS FOR COLOUR OF FONT
The girls who never leave The girls who never leave
For the credits we cant to use the same font
For the credits we cant to use the same font as our title called ‘chiller’. A colour we might
as our title called ‘chiller’. A colour we might use is black as its simple, dark, and
use is grey, because it looks mysterious mysterious. We feel it suits our opening
however we didn’t like it cause it looked to sequence but it doesn't distract too much
dull and weren’t very eye-catching. attention
The girls who never leave The girls who never leave
For the credits we cant to use the same font as For the credits we cant to use the same font
our title called ‘chiller’. A colour we might use as our title called ‘chiller’. A colour we might
is red, we feel it really suits our opening use is white. It’s the same colour as our title
sequence as it shows something bad happens would be as it goes with our opening
like violence. The red would stand out during sequence of a spirit looking or wearing white
our opening sequence so that could be a and so we think this looks well for our
problem opening sequence.

17. Kaya
Inspirational L
Non-diegetic sound
The sound used in insidious opening sequence has greatly
inspired me to use it through our opening sequence. It
creates a big climax with tensions as well as making it
uncomfortable and scary for the audience. It is a very high
pitched violin sound which gets extremely fast when the
tensions get to its highest points to a sudden stop or thud
perfect to fit with our opening sequence

18. Kaya
Music/Sounds T
Diegetic Sound
WE WILL HAVE A VOICE OVER
What will it be?
The sound of ghosts and spirits giggling and whispering in the closet very high
pitched and girly which a creepy twist
Non-Diegetic Sound
FREEPLAYMUSIC.COM
From freeplaymusic.com, we can’t have any sounds that we wanted as we can’t find any, so we
would like to download the tracks called
• Behind the looking glass
• Thriller
• One foolish night owl
• cryptomnesia

19. BBFC And Rating
What is BBFC- The British Board of Film
Classification.
What is BBFC used for- responsible for what was
shown in cinemas and from early on established
the decisions of the BBFC.
Are film will be rated an 15 because it not in the
interest of an younger audience.

20. BBFC And Rating
• It is impossible to predict what might upset any particular child. But a ‘U’ film should be suitable for audiences aged four
years and over. ‘U’ films should be set within a positive moral framework and should deal supportive offsets to any violence,
threat or horror.
• children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are
advised to consider whether the content may upset younger or more sensitive children.
• Exactly the same standards are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is
suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or
contain material which many parents will find unsuitable for them.
• No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’ rated video work.
• Only adults are admitted. Nobody younger than 18 can rent or buy an 18-rated VHS, DVD, Blu-ray Disc, UMD or game, or
watch a film in the cinema with this rating. Films under this category do not have control on the bad language that is used.
Scenes of strong real sex may be permitted if right by the context.

21. • Suitable for 12 years and over
• Exactly the same principles are used to classify works at ‘12A’ and ‘12’.
• The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless go along by an adult, and films
classified ‘12A’ are not recommended for a child below 12.
• Discrimination
language or behaviour must not be recognized by the work as a whole. Aggressive unfair language or behaviour is unlikely to be acceptable unless clearly
condemned.
• Drugs
Any abuse of drugs must be rare.
• Horror
Enough physical and mental risk may be permitted, provided disturbing sequences are not frequent or constant.
• Imitable behaviour
Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail.
• Language
language is allowed. The use of strong language (for example, ‘fuck’) must be rare.
• Nudity
Nudity is allowed, but in a sexual context must be brief and subtle.
• Sex
Sexual activity may be briefly shown. Sex references should not go beyond what is suitable for young teenagers.
• Theme
Mature themes are acceptable, but their conduct must be suitable for young teenagers.
• Violence
Sensible violence is allowed but should not dwell on detail.