The document discusses costume choices for characters in a film. For the protagonist, who is the son of a Hungarian mob leader, the document proposes a black suit to reflect his villainous background but with added "playful" or "childish" details like bright socks to show some remaining youthfulness. For the antagonists Tony A and Tony B, Tony A would wear shambolic clothing to represent his anarchic nature, while Tony B would wear a trim suit to demonstrate his calm, slick persona and create a contrast with Tony A. Background mob member characters would be dressed in more casual style clothing with some element of dress sense to maintain a hierarchy within the group.

1. Costumes

2. The Protagonist- Son of the Hungarian Mob
Leader
Ed and I decided that it would be suitable
for the protagonist of our film to feature
the most complicated costume which
would allow the audience to interpret this
character in an individual way as they wish.
Using the idea that he is, in fact, the son of
a mob boss, it seems fitting to put him in
smarter clothing than what perhaps other
gang members would be wearing,
especially since his own father would've
been slick and smart, a stereotype seen in
most thrillers. The black suit we decided to
be appropriate therefore reflects his
villainous background due to the
connotation the colour black tends to
have. An example is on the right.
However, we plan to distinguish our
character by interpreting different features
which give the audience a better
understanding of the form of this character
themselves. A way in which we decided to
do this is add small details such as the
‘playful’ or ‘childish’ way he dresses which
can only lead the audience to assume that
he still possesses some form of
youthfulness, unlike other mob members
would. We plan to do this through including
bright ‘childlike’ socks and simple trainers.
An example of this is on the right.
As a side note, we are aware that the
decision to put our character in this costume
will likely prompt the interpretation that this
character is villainous, however, we’d like to
create an anti-hero-like character

3. The Antagonists- Tony A and Tony B
We are using Tony A as a symbol
for the anarchic nature of this
group of people, therefore it is
appropriate to place him in
shambolic clothing in order to
reflect his (and most of the
group’s) chaotic personality. An
example of what he’d wear is on
the right.
Whereas Tony B, we have chosen
to to use him as a direct way of
juxtaposing Tony A (hence the
irony in calling them both Tony)
and plan on achieving this by
dressing him in trim, fitted
clothing, likely a suit, to
demonstrate his calm and slick
persona. An example of this is on
the right.
Ed and I have also made decisions on the subject of the antagonist’s costume. We each agreed that our main antagonists, Tony A
and Tony B, should each wear dark, dull costumes which is reflective of their villainous intentions. The dark costume helps the
audience identify them as antagonists since once again, they are characteristics of a stereotypical antagonist in a thriller film. We
also suggested the idea that their characters could be confused with our protagonist since he’s also wearing a similar costume,
however, the antagonists’ roles should enhanced by their stance and general presence.

4. Background characters
We have also decided to dress the background characters (so other
mob members, who perhaps aren’t as important for our narrative) in
more casual style clothing but still with an element of dress sense.
The characters should be dressed this way due to the importance of
maintaining the ideology of hierarchy within a group and is often an
element found in most Thrillers containing such groups; it would be
a disgrace to see a third party mob member dressed smarter than
say, the mob leader’s ‘right-hand man’. Therefore, examples of the
costumes are included on the right.