We have started drafting out our storyboards Key:and scripts for our trailer. As we only have one Red Text = Cameraminute to fill, we had to make sure that our angles/shots Blue Text = Soundtrailer was short, but snappy and included effects – diegetic/non-everything that we wanted our audience to diegeticknow about the suggested film, without Purple text = Transitionsshowing too much. We jotted down manyideas and brainstormed what would workbest, which ideas were practical and which wewould have to plan out in order to pull themoff. There are several ideas that were keepingat the back of our minds (the morecomplicated ones) but, for now, I think wehave quite a strong layout to our storyboardthat, if executed properly, could turn out to bea very interesting trailer.
Storyboard – Scenes 1-3Our trailer begins with a wide shot of thewitch’s house; in the background we hear a Pg:1voiceover briefly narrating this shot and Scn: 1hear soft Celtic music. It then cuts to 3 pairsof feet walking, including the sound offootsteps and crunching leaves/twigs.Another straight cut then fade into amedium shot of Hansel and Gretel (main Scn: 2characters). The music fades out and wesee them looking up at an unknown figureand we hear a deep voice (Hansel andGretel’s suggested father) saying hisgoodbyes to the children. We hear leavescrunching as the person walks away and Scn: 3we get a close-up of their reactions –Gretel then calls out for her father.
Scenes – 4-6 Pg:2 Scn: 4 In the next scene we see Hansel and Gretel give each other a knowing look followed by a close-up of them holding hands. Whilst this is happening, we hear a twig snap and a close-up of Hansel and Gretel swivelling their heads rapidly Scn: 5 to the side - they both gasp, and run off deeper into the woods, and we see a medium close-up of their feet scrabbling away. We then have a close-up of ‘Mars Studios presents’ written with twigs on Scn: 6 the forest floor, and only then does the fast paced music begin foretelling adventure.
Scenes 7-9 Pg:3 Scn: 7We then have 3 shots of Hansel and Gretelrunning for their lives each with text inbetween. (Text to be decided on at a laterdate). One running shot would be a trackingshot from behind both children, the next Scn: 8from the side and the last a medium close-up of their faces. Scn: 9
Scenes 10-12 Pg:4 From a distance ( a wide shot) we spot Scn: 10 the witches house, surrounded by tall trees, then a medium shot of Hansel and Gretel who stop to catch their breath. We hear Hansel and Gretel breathing heavily. Then a wide shot of Scn: 11 Hansel, Gretel and the house altogether, with a loud heartbeat in the background (along with the breathing). We see Gretel try and go forward towards the house but Hansel puts his arm out to stop her. Scn: 12 The next shot is a close-up of the house door, which slowly opens with a creaking sound in the background. A close-up shows us half of the witch’s face, the other half covered by the door. A wicked smile slowly appears on her face.
Scenes 12 - 15 5 Scn: 13Then blackout and the words “Hanseland Gretel” fade onto the screen, with astraight cut to the words “ComingSoon”. Scn: 14
How will you use mis-en-scene in your media product?We plan to use mis-en-scene in our trailer to convey the right tone we want, which is,thriller, mystery and fantasy; we want our audience to see the popular children’s fairytale in a new light.This is ironic, as the original fairy tale is quite grim and gloomy, given that the reasonthat the father leads them into the woods is because him and his wife can’t afford tofeed them anymore, so abandoning the children would leave more money and time tofeed themselves.We aren’t using any props; we feel that they would just crowd the shots, and none arereally necessary to the story. We are planning to use lighting to our advantage. Darklighting will make all the difference to our trailer, and will also help convey the rightfeeling in our trailer. We can achieve this either by filming in semi dark lighting; thiswould have to be very early in the morning, 5 or 6 am, or for a more practical solution,to film in regular daylight and add effects in at the later editing stage. This wouldprobably be a more efficient way of working as it means that we don’t have tocompromise on sleep or time.
How will your scenes connect to characterisation?As with any media product, we want to makethe audience feel a certain way, for example,to feel a particular emotion towards any onecharacter. As Hansel and Gretel are the victimsin the whole situation, we want the audienceto feel sorry for them; to feel somewhatsympathetic. This means that we will be usingbrighter lighting, and softer music when theyare on screen. These subliminal messages willmake the audience feel for the characters in avery subtle way. However, on the contrary, wewant to portray the witch in a completelydifferent way. WE don’t want any sympathygeared towards this character, therefore, wewould use dark lighting to portray the Example of an instance of dark lighting we could usedarkness of her intentions with Hansel and on the witchGretel, and eerie, spooky music when she in onscreen. This again will make the audience feela certain way about the witch in a indirect way.