Marianne awakens from a nightmare about her deceased twin brother and discovers scratches on her body. Questions arise about whether the events she experiences are real or imagined. The opening sequence is meant to keep the audience curious without revealing too much of the plot. The film aims to have Marianne uncover secrets of her past until she becomes psychologically ill and believes her antagonist is the ghost of her brother.

2. In the modern world there are many that believe they have been in the
presence of a paranormal figure . This is exactly what Marianne Crichton
believes. The opening sequence begins as she awakes from a terrifying
dream involving flashbacks to her childhood with her late twin brother
Michael. This immediately creates an enigma as to how her brother died
and why she is so disturbed by her childhood.
After awakening she discovers claw-like scratches covering her arms and
back. In fear, she runs to her parents room to find them, only to discover
they have gone out of town.
Throughout the film, questions are posed such as ‘is she sane? Who is
this antagonist? Does she know him? Is it human? An enigma is created
as to whether Marianne is imagining these events or if they are real.
We chose to only include this part of the narrative within our opening
sequence as we wanted to keep the audience on the edge of their seats,
without giving away too much of the plot. However, if we were to create
the whole film, we would have Marianne unlocks secrets of her past until
fear eventually causes her to become psychologically ill and believe the
antagonist is the ghost of her brother Michael.

3. The opening sequence we are producing is a psychological thriller
that has many nerve-wracking and tense scenes with unexpected
turns that will keep the audience curious. A psychological thriller is
a specific sub genre of the broad thriller genre, however, it often
incorporates elements from the mystery and drama genres. The
naturalistic style of the narrative causes the audience to be unsure
as to what is true and what is fiction. Within this sub genre, it is
common for the protagonist to either fear or have a fascination
with death. Their antagonist’s identity is often obscured which the
protagonist tries to discover. Two or more characters manipulating
each others minds is a common convention found in psychological
thrillers.
We have made sure that these conventions are included in our
opening sequence.

4. We made sure we chose a location which we could all access and have no
disturbances that would potentially interrupt the filming process.
As mise en scene is key, we wanted a location that was old fashioned and
gave an eerie atmosphere. We have chosen to film in Sophie’s house
which was built in the 1700’s.
All the filming will be done in one location, this will ensure that the
continuity flows without any mise en scene errors.

5. The Curse will be classified as a 15, as there will be some strong
language and scenes of a violent nature. A light usage of gory
images will be used to some extent, however they will be suitable
for our target audience consumers.
There will be no nudity or scenes of a sexual nature, and drugs will
not be glamorised.
This short opening is intended to not distress people of the ages of
15 and over.
Although the opening sequence will show minimal injuries, it will
not be gory. Strong language will be included in the film, but not in
the opening sequence.
WARNING: Flashing images may be used.

6. We have decided that all of the editing and sound effects will be equally
completed by each member of the group while we work together. The
mise en scene includes the costume design, make-up and props for the
film. This job role will be done by Sophie Reid, she will get hold of any
props or costumes needed and do the make-up required on the actor
before filming. The majority of the camerawork will be done by Elle
Taylor and Elicia Martin. This does not mean that if one member is
struggling we will not help them in their role. The role of the protagonist
main character Marianne will be played by Annabelle Jewson.