mood board, character development, font choice, narrative structure

1. LO2:
Initial ideas

2. Synopsis (zoom in for script)
Terry and May are a couple that have recently got together, after a
drunk fight at a club one night, the two slowly lose touch.
We pick up a week later as we see May in a local activity center
where a funeral reception is taking place- just a couple minutes
down the road from the nearby cemetery. May is one of the very
little attendees of what looks to be a funeral reception. Terry finds
her there, to mays surprise, and decides to confront her, asking
why she hasn’t reached out at all, asking if she's done anything
wrong, but May doesn’t answer, only looking slightly stunned and
keeping her head forward. It gets worse, as the questioning
progresses, May’s childhood friend Paul (also attending) picks up
on May’s distress rushing to comfort her- though not addressing
Terry. Pleas from Terry turn to yelling til eventually May snaps for
her to leave her alone and walks out the hall. Terry follows her out
into the barren street, May still ignoring her (back turned) ,
murmurs under her in disbelief, finally turning to face Terry asking
if she’s really there, Terry confused still on why May holds
resentment asks what she did, we then cut to the local graveyard,
finding a new grave under construction, the headstone belongs to
Terry. From here the story begins as the two reconcile even after
death and May finds herself falling in love with her ghost.
The overall screenplay will be between 60-70 pages (above only
showcases the first 10)

3. Character one:
May
Mays our main protagonist, she's who we will follow for
majority of the film. At the start of the flick, she's conserved,
quiet from her strict upbringing and when we meet her,
she’s guilt ridden as she's convinced Terry's death is all her
fault (its not). She's learnt to bottle up her emotions,
suppressing her personality, desires and sexuality from the
overhanging pressure exuded by her parents and her faith.
But as the story progresses, she learns to accept herself and
her sexuality, taking risks, venturing out into a whole new
side to life, one she much prefers and feels safe in: all the
while under the impression this is Terry's ghost's influence.
By the end of the film, we release along with May that she
grow by herself and that she no longer needs the ghost of
her past weighing down on her. The last time we see her,
she's ready to move on with someone else free from the
burden of her self-conflict and internalized hate. May
represents the theme of acceptance of ones self- learing to
not only trust those around her but herself.

4. Character two:
Terry
We don’t spend as long with terry as we do May, but
we do get to watch her grow into the person she is.
She, like May, grew up in a toxic environment, but
unlike May’s parents' subtle homophobia, Terry’s
parents actively were against the LGBTQ+ Community.
However instead of reverting back to being obedient,
Terry is self-assured in who she is and finds a family
outside the boundaries of her parents' home. Though
internally she’s a very timid soul, she doesn’t present
that way, she’s friendly and open with people, she’s
also sporadic and chaotic- talking at a rate that May
can't keep up with. She gets attached to people easily,
always looking for the validation she lacked as a kid,
so when May leaves her, she falls apart. It's only after
the pair rekindle that Terry learns how to be alone
and no longer fears it- by the end she has accepted
she can't keep May back from moving on with her life
and opts to move on herself. The point of Terry’s
character is to showcase how one can be alone but

5. Character three:
Paul
Paul acts as the archetypical ‘nice guy’ love interest that ultimately
May rejects. He's kind, thoughtful, caring and thinks the world of
May (knowing her since they we’re kids). However due to his
subservience, he expects to have May by the end of the film, he
acts considering what he’s getting out of it in mind. Though May
does utilize his clear feelings for her as a way of getting herself out
of tricky situations or obtaining something she wouldn’t be able to
normally, it must be kept in mind that May owes him nothing and
that she is not a reward for his good behavior. After learning he
was used as an easy escape on the night of May and Terry’s
argument- Paul (though at first angry that he's been led on) learns
some self respect and acknowledges that if May doesn’t want to
peruse the kind of relationship, he’s after with her, she shouldn’t
have to. The last we see of him is calling May ( as a friend) about
someone new he’s seeing. Paul represents a ‘hero’ that doesn’t
win the ‘girl/princess’ but wins self respect, learning to go forward
into new relationships without feeling entitled to women because
of how he feels about them, and to act out of kindness for the
sake of kindness and not what he can gain from it.

6. Character four:
May’s Father
Though there is no clear antagonist of the movie- the villain being hate-
May’s Father comes close to a visual and characterized embodiment of the
ignorance that makes room for hate to grow. He isn’t a typically bad person,
he loves his family and his daughter immensely, though, like he’s enforced
onto May, grew up surrounded by bigoted beliefs and ideals- and therefore
is less understanding or open to letting May explore her desires and feelings
towards other women. He acts as a metaphorical weight carried on May’s
shoulders- though he never out rightly says May can't date women or forces
her to conform to his ideologies, he still obtains an air of disapproval
towards the LGBTQ+ movement and is relucent to move with the times. This
consequently spirals down to May, not wanting to disappoint her loved
ones, repressing her sexual identity. At the end of the film, he stays fairly the
same, acknowledging May’s choice when she goes to confront him, but still
opts to carry the beliefs pushed on him when growing up- the last we see of
him, is when May offers him to get a drink at a queer Café and him declining
the offer, staying slumped in his chair, not leaving his small house ( we never
see him leave his house in the entirety of the film). May’s father represents
the generation stuck/ wistful for/ in the past, though it might not reflect a
happy ending between the pair, I hope to shine a light on parental
relationships with queer children that aren’t so accepting and loving as is
assumed ‘as society progresses’

7. Mode of address
The mode of address should be informal within elaborate code so that
the script reads easy for members of production in order to
successfully replicate locations, characters and props. It more so easily
communes what's going on to the audience, having informal dialogue
grounds the characters in realism and therefore makes them more
relatable and sympathetic to viewers.

8. For the films style and narrative, I'm looking to tell it through a fictional non-linear,
multi stranded three act structure- through a series of flashbacks we progressively
get more and more familiar with the characters and why they are who they are in
the present day, hopefully by showing both childhoods in a multi stranded fashion
allows the characters to feel more fleshed out. Moreover, it should help set it apart
from other romantic movies as most are told through a single viewpoint (to feel
more personal to induvial characters)
Style and narrative
May’s childhood-
Growing up in a strict
household- Paul
being her friend
finds a new home with
friends, safe
environment. Opens café
with friends
Terry’s
childhood-
running away
from abusive
household
Working in an office
environment is invited
out by a co worker
(one of Terry’s mates)
The pair meet
at a club and
make out
drunk
The pair begin to live
together, Terry see’s the
effect she's having on May
(not leaving the house,
staying with her, not
coming to terms with her
sexuality beyond the
house). Terry accepts her
death and being alone and
leaves without telling May
May leaves the club with Paul, they
sleep together before may leaves
(whilst he's asleep) wakes up to Co-
worker breaking the news about Terry’s
death
They start going out- Terry
wants to move faster than
May does (the fight)
May tells Paul what's happening, he
doesn’t believe her and is angry
about what she did the other night
saying ‘ you should love me’.
We see Terry not
coping well alone
The pair cross paths at
Terry’s funeral and ensue
‘dates’
May makes amends
with Paul,
confronts her
father, embraces
her sexuality
starting to see
someone else, goes
out more with co
worker + Terry’s
friends. Film ends
her visiting Terry’s
grave with her new
girlfriend
Flashback
Terry’s
perspective
May’s
perspective
Terry and
May’s
perspective

9. Angle of article
Film4’s most notable attributes is that it's independent, alternative and inclusive to looks to invest
in unique stories that push boundaries whilst holding a liberal agender to allow its mass audiences
to feel represented with a diverse cast of characters as well as an appropriate and realistic reflection
of the state of the modern world- I believe my film fits that agender whilst remaining entertaining.
In order to target my main demographic, I'm making it a priority to have as much representation as
possible through the cast and themes tackled within the film. Each group represented should be
done respectfully, the film should and will be completely void of any harmful stereotypes that
pertain to minorities represented e.g., having both main characters being gay should be tackled
respectfully and shot in a way that doesn’t diminish them. There should be no bias when targeting
the main demographic- the film should be enjoyable for everyone. To ensure enjoyability despite
the hard-hitting topic, I wanted the characters themselves to be relatable and genuinely likable to
guarantee the character’s likability, I wanted to surround them with progressively annoying and
tone-deaf portrayals of conserved and close-minded people that act as a ‘point and laugh’ que
rather than characters that hold as serious threats.

10. Bleak
Fate
Isolation
Belonging
Ignorance
Repression
Loneliness
Pressure Faith
soul
Heart
understanding
Expression
Freedom
Powerful Weakness
External/ internal
acceptance
What people mean
to eachother
Self love

11. When mind mapping ideas for the
aesthetics of the film, I wanted to look at
incorporating themes of companionship
and how those we surround ourselves
with help make us better people:
May: Through each relationship she acts in within
the script; Terry, Paul and her Father- she is able
to learn something about herself and grow as a
person as the narrative progresses
Her father demonstrating the internal struggles
she faced and eventually she is able to confront
not only him but these internalised emotions and
better herself.
Both Paul and Terry showcases her detachment
from other people, her selfishness and
dishonesty, as the film advances, she's able to
look past people as just objects and is able to
form real connections with the pair for who they
are. She begins to not only apricate Paul’s Loyalty
to her, but her love for Terry beyond her being an
outlet for her sexual frustration.
Terry in particular giving her insight to accepting
and being prideful for who she is and who she
loves
Terry: Like May, Terry is able to learn to grow as
a character after her death with her flaws
pointed out by her relationship and effect on
May. When the pair start living together after
Terry’s death, though at first Terry is reluctant
to let May move on, needing her company
almost always- she is able to pick up her
influence in May’s isolation from the outside
world, and therefore is able to reflect on her
co-dependency issues, learning to be content
with her own company and to sit with her
repressed trauma from her childhood, rather
than looking to drown it out with new
relationships.
Paul: As well as the girls, Paul is able to self reflect on his problem with
acting out of desire rather than for himself. His relationship with May helps
demonstrate this, when they have their fight after Terry’s funeral, May is
able to show him that no matter how much she’s asked of him she doesn’t
owe herself to him, he chose to do as she requested knowing that he was
getting nothing out of it, but hoping he would. Moving forward, he expects
nothing from women he's pursuing and acts as himself instead of who he
thinks their ‘dream man’ would be.
Mind map

12. Mind map
<<When considering this theme I wanted
to look at representing this visually
through the an atmospheric use of film
form: mainly cinematography and mise
en scene:
Colour:
The lack of colour (utilizing a black and
white aesthetic) I wanted to emulate old
Hollywood aesthetics to turn the
stereotypical ‘man gets women’ seen in
many Rom- Coms at the time e.g. ‘It
Happened One Night- 1934’ or ‘ His Girl
Friday- 1940’ turning the convention on
its head by having it the ‘women loses
women’ bitter queer romance. The black
and white aesthetic more so adds to the
moody and gloomy tone to the film,
symbolic of their relationship being
something of the past and the dark world
the pair inhabits- the only colour spilling
through at the end from the flowers May
leaves at Terry’s grave as the future starts
to get brighter, May moving forward
accepting who she is.
Performance: all actors should be
grounded in realistic characteristics, use
of language, body language and facial
performance should communicate
realistic portrayals of the four main
characters; modern queer women,
behind the times Parents and ‘nice guy’
men- to ensure there's a air believability
and relativity audiences can feel when
watching. Other than that surrounding
characters such as the bigots and
ignorant homophobes and racists that
act as the external conflict for our main
characters, should have exaggerated
performances to future poke fun at those
said people in real life.
Lighting: The films lighting should be fairly stylistic with
deep shadows and highlights- in vain of the Noir lighting
utilized within Old Hollywood Productions – to further add
atmosphere and tie into the films themes of ‘inner conflict’
with May's internalized homophobia and Terry’s
internalized and built up trauma. The lighting only getting
gradually more natural and lighter as all characters being
resolving their conflicts- their futures literally getting
brighter.
Costume:
Setting:

13. Mind map
<<When considering this theme I wanted
to look at representing this visually
through the an atmospheric use of film
form: mainly cinematography and mise
en scene:
Costume: the red leather jacket of Terry:
unapologetic, dangerous, lustful,
passionate (a rebel) reflects Terrys
altruistic outlook on the future. the
brown suede of May: old fashioned,
sentimental, conserved ( a conformist)
Setting: Urban British city, ambiguous
location to further appeal to a larger
demographic plays into social-realism
themes

14. • (1.5-inch left margin , 1-inch right margin , 1 inch top and bottom margins)
• Scene headings (sluglines) for every new setting *Use of capitalisation for
characters and slug-lines
• Dialogue bellow character’s name (both placed centrally) Actions written within
(parenthetical brackets)
• Transitions are capitalized important props are sometimes capitalized
• sounds (sfx) are capitalized Camera movements are capitalized (V.O.)- voice
over (O.S)- off screen Mores and continueds to indicate characters still talking on
next page
• Page numbers in the top right corner Half-inch from the top of the page Numbers
should have a period after The first page is not numbered The title page is not
numbered and does not count as page one The first page to have a number is the
second page of the screenplay (the third sheet of paper including the title page),
which is numbered 2
Layout conventions based on UK fiction film
format

15. Typeface
• Courier font, size 12

16. The audience targeted is that of members of the LGBTQ+ community of any gender, ethnicity and
age above 15, as they’re the target demographic that will relate the most to the two main
characters. I believe by having more recent depictions of women represented to have little to no
character, makes it hard for audiences to relate or empathize with them. I'm hoping by having a
more individual character study approach of both Terry and May, they’ll be fleshed out and
developed before their relationship even begins, so we can sit back and watch the romance unfold
between two characters we already know and like. Though this in mind, both characters ethnicity
and age come into play when ensuring audiences can relate and feel represented within the film
without being done in an offensive and poor manner; for example, both characters are roughly in
their early twenties to appeal to the younger target audience, however it should be noted to avoid
stereotypical aspects to the age group such as being ‘ tech obsessed’ to not put younger viewers off.
Target audiences and how they'll be
targeted

17. Script annotations
• For page one’s annotations- I looked at the scripts formatting, typeface
and narrative features;
• Formatting: the script begins with a musically cue of Al Green’s ‘Lets Stay
Together’ I thought this would be perfect introduction to the film as the
song, though having a somewhat upbeat mellow tone, talks about longing
for someone you're beginning to/ or have lost ‘lets stay together, whether
times are good or bad, happy or sad’ embolic of the pair's relationship.
• A little future down is the transitional cue, a straight cut from a black
screen- I believe this will help capture audiences' attentions immediately
as we come straight face to face with our main character
• We then have a slugline to establish the location – the barren social club
being the setting for Terry’s funeral reception helps demonstrate the
small social circle she kept in life and the little expenses paid for said
reception due to the working-class environment the pair belong to
• The action- the action details the mise en scene of the scene: the
performance of May’s actress- she should be distressed to further
intrigue audiences within the opening sequence. The costume more so is
detailed, to future help members of production visualise the character. As
well as the environment/ setting she inhabits, surrounding guests and the
layout of the social club, building on the world.
• Typeface- Courier font, size 12,
• (1.5-inch left margin , 1-inch right margin , 1 inch top and bottom
margins)
• Narrative- the opening sene not only paints a picture of the world and
characters of the film but includes a plot point very early on that we’ll
come to look future into as the film progresses.