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Media Pitch C3
- 1. Luisa Federico, Anna Gibson and Edgar Walke
- 2. Our film is Thriller. The different types of Thriller are psychological, conspiracy and crime. We are choosing Crime Thriller with aspects of a Psychological Thriller. The audience will have certain expectations. These categories are; ideological approach and narrative, characters, settings and iconography.
- 3. Syd Field’s 3 act structure Our main plot: • The protagonist is introduced • The police officer is in the evidence room and moving things around on the table • The camera will then show the audience the evidence, briefly introducing the antagonist • A flashback to the murder is then shown • Then it goes back to present day and shows the case being closed. When the officer is asked about why he is so involved with the case he reveals that the victim is his sister. The film then continues to the officer exploring the lead before coming to a dead end. The tape of the murder is then watched until a missing piece of the case is found.
- 4. Traditional characters in Thrillers are; criminals, stalkers, innocent victims, psychotic individuals and police officers. The protagonists are usually police or detectives. We have two main characters: Our protagonist is a male police officer that is trying to solve the murder of his younger sister. Our antagonist is the missing murderer that killed the officers sister as she was a witness to a previous crime he committed.
- 5. Our film will have a 15 certificate rating. Our film will attract males more than females however it will also attract those who enjoy films that make you think. Our film will have a relatively cheap budget and due to this we will use ‘EuropaCorp’ – A production company that ‘Taken’ used.
- 6. Syd Field’s theory says that you must capture the audience within the first 10 minutes and tell the nature of the film within the first 30. All the characters are shown briefly. The protagonist features most in the opening however, the antagonist is shown more later on. The audience will stay engaged as we wont give away too much before the titles run.
Editor's Notes
- 1. The genre of your film – the audience expectations of that genre? Are you following these expectations? The genre we are picking for our film is thriller. There are different sub-sections to the thriller genre; examples of these are psychological thriller, conspiracy thriller and crime thrillers. Our film will be a crime thriller with aspects of a psychological thriller, including the associated codes and conventions with this genre. The audience will have certain expectations which are also known as the repertoire of elements, these categories are: iconography, characters, settings, ideological approach and narrative structure. 1. Ideological approach and narrative: The film will be focused around 1 case that has to be solved The law be bent/broken by multiple characters A plot twist will occur midway that will affect the protagonist Characters will face conflicts that will be hard to overcome The antagonist will be caught and serve time for the crime they committed.2. Characters: typical characters that are seen in a thriller include: convicts, criminals, stalkers, assassins, police officers, innocent victims, suspects, characters with dark pasts, people involved in twisted relationships. Other characters associated with this genre are people being kidnapped and held for ransom. We are not going to follow this convention as we are going to do a murder rather than a kidnapping. However we are not going to focus on the murder itself, but the aftermath of the killing and therefore relating to our genre. 3. Settings: In police/crime thrillers, there are generally three main settings used: the police station, the protagonist’s home and the ‘underground lair’. They are often set in cities because of how much room they allow storylines to build up in, as the criminals have a lot of places to hide. Cities are also filled with crime and therefore are associated as a police themed plot. The other 2 conventional settings are both centred on the protagonist – the police officer or detective. The traditional setting for thrillers is in cities however this rule can be broken, as it was in ‘Hot Fuzz’ which was in a country village. We will also break some conventions too as we will keep the protagonist without any close family and therefore showing less of their home & private life. 4. Iconography: Our film will follow the traditional iconography shown in thrillers such as: Including police stations and evidence The typical setting is the urban city Small range of colours, credits are kept simple Weapons: either really obvious – guns or subtle like small knives Forming our credits with very fast pacing transitions and editing The use of shadows to create suspense Confined Spaces, street lamps and forests
- 2. Narrative & Settings – how is your field made up? 3 acts and the substance of your film, link to the theories.Our film uses Syd Field’s 3 Act structures which are: Act 1: the set up – the most important for Field. He claims that within the first 10 minutes the audience will decide whether or not they like the film and will more than likely be less willing to change their mind later. He believes that within the first half an hour maximum the audience should know the nature of the problem the hero is facing. Our film follows this because our film begins with the police officer looking at the evidence of a crime committed, showing security tape print screens and suspect photographs. This tells the audience that the protagonist is trying to solve a crime that has occurred. We then show a flashback of the murder so that the audience understand what happened to the victim and therefore will understand the rest of the film. Act 2: Confrontation – this is the longest act in the film where we see the main character in a number of more extreme problems where they confront the enemies. At plot point 2 the protagonist realises the way she or he are doing things are working and changes there approach. Act 3: the resolution – the hero finally takes control in their struggles with their problems and takes victory. This is shown in our film as it shows the police officer overcoming their problems with solving the case and finally figuring out who the culprit is. Main PlotOur film begins with the protagonist being introduced, the police officer is in the evidence room and is looking down at the things on the table, moving things around and then sitting down dramatically as if to suggest his frustration with the case – emphasizing the time spent on it already. The camera will then track across the table to show what the police officer is looking at, introducing the audience to the antagonist and the general plot of the film. Once showing all of the things on the table, the camera will go back onto the protagonist using a close up to show the characters face clearly and then exchange a couple of line of dialogue as he picks up the screenshot of the murder on the security camera. The screen will then fade to show a flashback to the murder so the audience understands what happened to the victim and why the police suspect this particular person. There isn’t too much gore in the flashback so our film can stay as a 15 as well as fit our genre. The flashback shows up to the point the guy runs as the police arrive and then fades back to present day. After the police officer looks through a couple more things he finds a vital piece of evidence that he had originally missed. Once thinking that he has finally solved the case, it shows the camera flashing between the piece of evidence and the police officers expression before cutting off into the film credits and the music starts to play. The film would then continue into the police officer exploring this lead before realising it comes to a dead end yet again. With the police officer losing his patience, it shows him rewatching the recording of the murder again and again, trying to watch out for any mistakes the murderer could of made and whether he left any hints as to where he could be. Meanwhile, the action will change to the antagonists hideout, showing him becoming more paranoid as he waits to be caught, looking out the window and panicking when he hears any noise. It will then go back to the police officer in the evidence room and show him pausing the film on a particular part and his expression changing to excitement as he discovered the missing piece to the case. The police then collects the rest of the officers and leads them to the antagonists hide out.
- 3. Characters – what characters, the names and ages, who’s the villain and hero, what they look like and what expectations do the audience have for these characters? Include pictures and sketches of what they look like. Characters usually include criminals, stalkers, assassins, innocent victims – often on the fun, menaced women, characters with deep dark pasts, psychotic individuals, spree kills, police and romantic triangles leading to murder. The protagonists are frequently ordinary citizens that are unaccustomed to danger, although commonly in crime thrillers they are police officers or detectives. Protagonists in thriller films are usually men however women lead characters are becoming increasingly common. We are following some of these stock characters in our films as our protagonist is a police officer in the hero in the film, he has been working on the case for a long period of time and is becoming tired of not being to figure out the problem. He is a modern police man and is a young adult man but has gained experienced due to his previous cases. Our antagonist is the murderer and is the obvious bad guy in the film. He is missing and despite being one of the main characters in the film, he features a lot less in comparison to the protagonist however is a main part due to flashback.
- 4. Audience and Budget – who is your target audience: gender, age, certificate rating and why, what other films yours will be like, what are they about, research what the BBFC say you can include for different ratings, big or low budget, the distributor reflects the budget of the film. Our film will have a 15 certificate rating. A 15 certificate rating can include: strong violence frequent strong language portrayals of sexual activity strong verbal references to sex sexual nudity brief scenes of sexual violence or verbal references to sexual violence discriminatory language or behaviour drug takingIn a 15 violence may be strong however it should not dwell on the infliction of pain or injury, strong gory images are unlikely to be acceptable. This means that when we do our flashback scene showing the murder we will keep it brief but still show what happened to the person so the audience understands what happened. We don’t want our film to be an 18 because this really limits the audience as the majority of people that go to the cinema our under this age as they have the most spare time. The film will probably attract males more than females however we think that due to it being a thriller rather than a gory horror it would attract the female market too. Our film will have a relatively cheap budget however it won’t be as cheap as films like ‘Blair Witch Project’. Due to this we will use ‘EuropaCorp’ as this is the production company that ‘Taken’ used – a very popular and successful thriller.
- 5. Opening – what can they see and hear? Use your notes from your green booklet, how are you going to hook the reader? Link it to your theory. How does it link to your genre? Are all the characters shown?As we are using Syd Field’s theory we must follow his rule of capturing the audience within the first 10 minutes and telling them the nature of the film within the first 30. All of our characters will be shown in the opening of the film briefly however the antagonist won’t be clearly shown until later on. The protagonist is the main character in the opening and is used to tell the audience what is happening. We are going to hook our audience in by not giving away too much in the opening, after showing the murder flashback it will bring the audience in as they will want to know what happens next. By showing the officer finding something important but not saying what before the titles run it will keep the audience in as they will want to see what they found and why it was so significant. It links to our genre of a crime thriller with aspects of a physcological thriller because it makes the audience think as well as including the traditional conventions of this genre.