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1. CORRIDOR
Doors with light emitting from beneath and the sides/corners of
other doors he passes?
A liminal space – where the world
the film is set in meets the real
world. Transition between
Reception (The Gate) and Waiting
Room (purgatory)
Contains both elements of Real
World and Purgatory.
The shape may contract and expand
as it reflects the
changing mind of Peter
Dark warm colours on the carpet,
dark brown doors and lighter
walls (off white/dirty colour)
Over head lighting (bright white)
helping create a more
harsh/cold/uncomfortable
feeling.
Pictures in gold/dark brown
frames with boarder around
them (old fashioned).
Possibility of peoples belongings
being in the corridor or being
taken out of the corridor by
somebody, reflecting the amount
of time some of the people may
have been reflecting on their sins.
Maybe a dirty looking
rug if floor isn’t
carpet, looks as if
minimal effort has
been put in compared
to the reception but
creates a nice
transition from it.
Small pictures-
may get larger or
change later on
to make them
more prominent
(reality catching
up with the
protagonist).
Something at end of corridor that
he is lead into the waiting room
before reaching (bed, clock, date,
mirror with a distorted view).
Could be something present that
he doesn’t see as a character that
is there when he first goes down
the corridor but isn’t there later
(or other way around)-
foreshadowing?

2. More on corridor:
Waiting room signs on doors in corridor- could be made out of
thin wooden board- not too heavy, may be held with blue tack
Acrylic paints, metallics
Symbols on the door
signs- the door peter
goes into, there is a
coloration to the
symbol on his ticket
and the symbol on the
door (toxic
shame/reflection
symbol). Medieval masks of shame
Family
Polaroid? – small pictures
in frames along corridor,
peter doesn't pay
attention to.

3. WAITING ROOM
No windows. Functional. Depressing.
Think hospital waiting rooms / nhs
waiting rooms.
Would maybe like wooden benches?
NB: Seats need to have visible
numbers or have (e.g. wall) number
near them, seats could be seemingly
bolted to the ground, no change in the
space (you do what you are told to
do).
Overhead harsh and
cold lighting, making
the people in the
waiting room also feel
cold and very
uncomfortable,
torturing for as long as
they are there.
Small table containing leaflets (low
down)- uncomfortable for someone
to even grab one, also doesn’t take
too much away from focus on ticker
or painting etc.
Jail like, maybe concrete block walls.
Walls off white or dirty/earthy colour-
very flat adds to the coldness and
uncomfortableness (there are lights on
you at all times and you are watched so
as you cannot leave). No carpet on the
floor, vinyl (dirty white/grey/crème)-
medical like. Slightly dirty/stains on wall
and floors)

4. Chairs welded uncomfortably close together- more uncomfortable
as peter is forced to sit in a seat with people around him that he
doesn’t like (coughing and staring at him etc.)
Plastic/or wood- but not cheap plastic looking
Vintage waiting rooms

5. Flip clock / ticker,
but
wooden/metal
looking (old
fashioned like
you’d see in an
asylum
Dark-wood / metal maybe rusted frames / plants aside of leaflets, looking
abandoned and dying maybe
Scratches made on the seats, maybe some ties here and there to represent
some of the people that may have previously been there (wear).
Leaflets: ones that you can
open, shot from the front of
peter so back is seen
‘S is for Shame’
‘Out or In’
‘What does it mean to be
sorry?’

6. Painting: Black Swan- something that represents the character in not a completely obviously creepy
way
The people that Peter has hurt
Abstract- to represent the shame that peter is having placed upon him in this place because of what
he has done and who he has hurt
Theme of the main
painting is SHAME (toxic
shame)
Painting on a
curved brick wall-
make painting
have depth,
curving back at an
angle like the
bricks on the wall
as they are
curved. Can be
emphasised by
lighting but will
primarily bring
more attention
and darkness to
the piece.
A3 or slightly bigger
Childhood
Addiction

7. Ticket machine and tickets:
Faded colours/old
-cardboard
-cut out plastic
- Could just be metal box, painted to
look like a ticket dispenser when shot
from close-up, have area on box where
ticket can be poked through

8. RECEPTION
Red carpet/furniture – dark wood/sophisticated – courtroom like (AHS
Hotel).
Imposing – high ceilings, yellowish/tungsten lights.
Structures moulding the room, helping the audiences focus be on the
receptionist and how important she is viewed as a character and the god
of this whole world.
Throne like pattern on the back wall – vases create height and frame the individual in the middle, brings attention to the receptionist
Stalactite (lighting)- the appearance of them nearly falling on the characters (adds to the intensity and the feeling of disturbance) even the lights that this
receptionist is in are more intimidating and overpower Peter and the other characters.
Courtroom like desk, bringing height and elevation to
the receptionist. (again in dark wood to display
sophistication and power).
High back lather chair, less like an office chair and more
like a throne.
Lighting reflecting down on the receptionist and leaving
the person in front of the desk in more of the
receptionist shadow. Camera above reception?
Lower place at the reception for abbie andless of a
defined background like what the main receptionist has
(wooden board for a backdrop on the receptionist)
Carpets similar darker/warmer colours to those seen in
the corridor however, less patterned and more polished
look (you've entered her reception which is a reflection
of herself and her position so there needs to be a
transition in the corridor to the ‘where you belong’
waiting space.
Surrounded in darkness
Tables / direction of
rug or something
on the floor leading
up to the reception

9. Pot-glass filled with identical
dip ink pens (a representation
of them doing the same thing-
time)
Red ink?
Dip ink pens meaning Abbie
would have to keep dipping in
(paying less attention to
peter)-adding to the irrability
that peter feels in this place.
Board piece behind Annie at
the reception, some sort of
directional pattern to
emphasise her power and
importance
Directional strip lights

10. Costume and makeup:
The five stages of grief:
-Denial
-Anger (very dark c
-Bargaining
-Depression
-Acceptance
Have the patients in the
waiting room at separate
stages within this, some are
ready to leave soon etc.
Vile: 20, rash, ill looking
Pale face, red under his
watery eyes and mouth
Jen: woman in the wheelchair
(20s, hospital gown, head
covered in bandages, red
trainers, walking stick)
Combridge: A trickster, tall, mid 20s- works in this place and gives valuable information to Peter, knowing he
won’t really understand or take any info from it
-pale face, dark shadows (eyes) to give trickster look. Doctor kind of top, pale to fit his aesthetic.

11. Peter:
Piotr: old man, scraggly hair, 50s

12. Abbie (reception):
Pleasantville- 1950s American style housewife's (rigid and false)
One flew over the cuckoo nest- nurse
Very put together, but wearing more neutral colours as opposed to
the traditional housewife look (the way she irritates peter) being
reflected in how she is part of this depressing land.
Maybe a pop of colour on her like a necklace etc.
: judge like
-thin framed black glasses halfway down her nose, emphasis on
when she looks down on people who talk to her
Wearing broach?-symbolism
Flat makeup- black and red, pale
skin with rouge cheeks
Marble like / glass looking eyes –
kind of looking at peter as the boss
who you cannot see through
The controller of this whole ‘spell
like’ situation. Looks straight
through you to make you feel
uncomfortable and the shame that
you should be feeling.

13. Ways to express the background information in the film without the use of paintings and pictures (everyone uses there
for a more obvious meaning to the audience).