The document provides feedback on a film pitch for "The Basement". While little criticism was given overall, one comment noted the film leaned too heavily on influences from The Conjuring and Insidious. In response, the filmmaker has altered aspects that were too similar, such as changing the location of the possession scene. Emphasis will also be placed on developing a unique aesthetic and atmospheric narrative rather than character introductions, to distance the film from conventions of those influences.

1. PITCH FEEDBACK
Very little criticism was given of my idea for ‘The Basement’, leading me to the
conclusion that I will continue with the majority of my ideas. However, one comment
stated that the film leans too heavily on its influences with The Conjuring and
Insidious, and I have taken this comment into great consideration. Similarities that
have been altered/eradicated include:
1. The emphasis on the basement that is prominent during the final scenes of The
Conjuring. Although great emphasis will be placed on the basement during ‘The
Basement’, the possession scene will not take place there as it does in The Conjuring.
Instead, it will take place in the third floor bedroom, and will involve the protagonist
getting sucked into an all-consuming black substance.
2. The concept of the demons and ‘multiple entities’ that Insidious offers. These will
indeed be utilised in ‘The Basement’ but the aesthetic and identity of the entities will
be very different. Moreover, the concept of ‘astral projection’ and the idea of the
entities living there in Insidious will not be present in my film, lending more realism
and humanity to the hauntings and increasing the chance of viewers finding the
horror relatable (and all the more terrifying).
3. The directorial influence of the director of these, James Wan. Initially, I hoped to
mimic his tendency for handheld camera movements and slow panning shots, but in
order to distance myself from his work even further, I hope to adopt a more
individual style inspired by directors such as Kubrick and Paul Thomas Anderson.
Shots will mainly be still and will endure for longer than expected in order to
enhance the potency of the imagery on screen. Greater emphasis will be placed on
using colours as stimuli.
4. The shock ending of Insidious. ‘The Basement’ will not have a shock ending so
much as an ending propelled by dread and slow-burning horror i.e a series of slow
fades as Joe shuffles towards the devil.
Indeed, it has provoked me to reconsider the majority of the first half of the trailer,
which will be constructed in a more unconventional sense than most horror film
trailers. Although establishing shots will be used, there will be a greater emphasis on
generating an atmosphere completely unique to the aesthetic of my film – and this
will replace lengthy character introductions that were previously in its place. This
will shift focus from a character-driven narrative to an atmospheric, visually complex
narrative, which is a significant change from the more conventional ideas associated
with my first draft of the trailer. I feel as though this change is necessary in order to

2. prevent myself falling into the conventions of the trailers of The Conjuring and
Insidious – which also dabble in minimalism in favour of convention – and will allow
me to find further ways to scare and beguile my target audience.