The storyboard outlines key shots and scenes from a planned thriller production. It includes 12 significant shots, including the opening scene of a woman running with a sense of mystery. Other scenes show her happy at a bar before things change, flashing back to earlier happier times. The storyboard conveys changing moods and settings, from social to dangerous, as the night takes a troubling turn, with the male character pursuing her with a weapon into the darkness.

1. The Story board was a section of planning we decided to do to
create a basic image of what our production was going to be
like.
We’ve only created twelve shots as a pose to over 40 which are
included in our production, this is because we wanted it to be
narrowed down to the twelve most significant shots that occur
in our production, in order to make it simple.

4. The fact we
chose to set
our
production at
night allows
the idea of
pathetic
fallacy to set
in.
The fact we chose a railway to film on
indicates the isolation that the ‘damsel
in distress’ suffers. It also foreshadows
the danger she encounters.
The moon here is significant as in the real production
its used as a graphic match to the next scene.
The thought
bubble here
represents the
fact we go to an
earlier scene.
Although in our
production this is
shows through
text at the
bottom of the
image.
This is the opening scene, the audience won’t know why she’s running so a
sense of mystery and ambiguity is set immediately, which is a typical thriller
convention.

7. This is the flashback that the girl has. As we can see the setting has changed
completely, and the contrast and diversity between the two settings can link
back to the two main characters who are complete opposites.
Here we see a
classic, normal
setting which
doesn’t create
uneasiness for
the audience
because the
characters look
happy.
The wine glass
is a significant
prop here
because its
where the
root of the
action does
actually take
place.
We chose a bar for this scene because it’s quite a social place,
and the following events are things that do happen in these
environments, therefore creating a more realistic and maybe
relatable experience for the audience.
These shots are
long shots to take
in the whole
environment.

10. Both of these shots are close-ups. This is the root of the action around this
section of the production and progresses the story on significantly.
These shots are close-ups because the action here is significant and
we want the audience to clearly notice this. If we did it as a long
shot then the audience may not be able to see it, or alternatively
not realise its an event that takes place in the production that’s of
significance.
We didn’t use harmful
pills and instead put tic-
tacs into a drink.
You cannot see any faces (just hands)
on these shots either to heighten the
mystery and suspense.

13. Here we see the naivety of the girl, and the later effects she suffers. A
change in expression and mood is shown here.
We used these images to indicate a change in mood here through the use of
her facial expression.
Here she is happy and unaware. Here she’s confused and sad.
The idea of it being set at night is
reinforced not only through the fact that
shes on a night out but by the exterior
lighting and the moon/stars. These are
subtly shown.
We couldn’t get the idea across that the
girl would be stumbling out the bar, so
instead we wrote these in quotation
marks at the bottom so it was clear.
Obviously this isn’t going to be on the
production, but due to the fact this is a
still image we thought it was necessary.
She also shows a
sign of being
oblivious because
here the pills are
in the glass and
she doesn’t know.

16. Here the story board tells us the next stage to the production. Once
again the setting has changed here and gone back to the original
aura of negativity and uneasiness.
Here we see that
the male character
has subtly seen her
leaving.
We left dots behind the feet on both
sections of the story board to indicate that
this is where they have travelled from.
We thought the one singular light
here created an eerie feel, one
that the audience can see
represents danger.
We had to use text ‘back to
reality’ so this ellipses edit
was clearly indicated.
Once again, the
girl is oblivious to
the male
character to even
have seen her.
The danger in this picture is
vibrant through the darkness
in the background and
evidently the fact he’s holding
a weapon.
We left his face
blank to link to the
idea that in the
production you can
never quite see his
face.

19. The final images are graphic, but this is what’s expected from a
thriller. Here we didn’t dabble too much in the ‘horror-film’ idea with
blood etc, and instead left that to the imagination of the audience.
The lines here show that we filmed
through a metal gate. This connotes
coldness and uneasiness because it
creaks as it swings open.
The weapon is shown as a
small version here. But we
thought it was vital that we
did a close-up on it because
it is such a huge and scary
part of our thriller.
The one glimpse of the males face
we get here shows to be
disorientated and worrying, posing
negative connotations towards his
character.
The swinging action here shows
the movement, but obviously
this is a still image so it’s
impossible to show this here,
hence the lines.