My Thriller Opening

My opening will start with a woman returning home from work. When she enters her house, she will go about her normal routine e.g  turning on the lights and making her self a tea. She will then sit down in another room and receive a text message which will result in her looking at her phone she will then place it on the sofa "screen up" and go into the kitchen When she goes into the kitchen, she will take some pills from the cupboard but before she takes them she will hear a noise coming from the room that she was previously in therefore she will go to the other room to see her phone "screen down". This will lead our character to believe that somebody is in her house, which we will see by her facial expression. The character will then hear a noise coming from upstairs and will slowly make her way up the stairs. The upstairs part of the will be very dark


Character: Women in her mid twenties, works in an office and lives with her friend who will be out for the night.

Costume

Costume

The main character in this thriller opening will be coming back from work, (as an assistant to an editor of a magazine) therefore, the cloths that she will be wearing are going to be smart however, not glamours as she is not a confident character.

these are a few examples of how I want this character to look;

Props

The props I will need is;
A kettle
A mug
Tea bag
A phone
Keys

Film Theories

Burton- States that narrative refers to story-making, however the narrative is not just the story line but it is also how it is organised.

Rowe- States that the primary function of a film is to tell a story.

Todorov- States that all stories have 5 stages 1) equilibrium, 2) disruption, 3) recognition (of disruption), 4) attempt to repair 5) the new equilibrium. 

Certificate

The certificate that I have chosen for my thriller is a 15, this is because it is a psychological thriller that may be disturbing for younger viewers, from my research of the BBFC I have also found out that all the aspects of my thriller are suitable for a certificate 15 movie. there are also many other psychological thrillers that have been given this certificate e.g.;

BBFC Certificates

Certificate PG

A PG film will not contain any theme which is inappropriate for a child. PG works can explore challenging issues such as bullying, bereavement or racism.

Language in a PG film?

There may be mild bad language (such as ‘shit’ or ‘son of a bitch’) in a PG film, but the context and delivery are always important. For example, if the language is used aggressively or if there is a great deal of bad language, a work may be passed at a higher category.

What about sex?

Sex references are unlikely unless they are undetailed and infrequent. In addition, if a child is unlikely to understand a reference, we may allow it at PG. Comedy can also often lessen the impact of sex references and innuendo.

Sex and sex references are treated the same irrespective of sexuality so there could be mild or undetailed references at PG.

What about violence or threat at PG?

Violence will usually be mild. There should be no detail of violence in a PG work, so while there might be some blood, we would not see how the injury was inflicted in strong detail. Violence is generally more acceptable in a historical, comedic or fantasy setting, because of the distancing that this provides. It isn’t uncommon for PG films to feature ‘roller-coaster’ action or set pieces, where the emphasis is clearly on the adventure or journey of the main characters rather than the detail of violence or fighting.

As far as threat and horror goes, we allow some 'jump' moments and frightening sequences as long as they are not prolonged or intense.. Fantasy settings may again be a factor in the treatment of such content.

What about behaviour children might copy?

In a PG work, potentially dangerous or antisocial behaviour which young children are likely to copy, such as bullying, or playing with electricity, will not be condoned or seen to go unchallenged, especially if it comes across as safe or fun. Realistic or easily accessible weapons, such as knives, will not be glamorised or focused upon in a PG work. Smoking and drinking will not be promoted or glamorised and if child characters are seen smoking or drinking, there should be a clear message that this is bad. If drugs are mentioned or seen, a PG work should either represent them in an innocuous manner or emphasise that they are harmful.

Will there be any drugs in a PG?

There might be innocuous or passing references to illegal drugs or drugs misuse in a PG work, although there should be no strong focus on this. In addition drug references may be permissible if there is a clear anti-drugs or educational message likely to be understood by children eight or over.

Certificate 12 and 12A

Can there be uses of strong language in a 12A or 12 work?

The BBFC's Guidelines state that strong language (e.g. 'f***') may be passed at 12 or 12A, depending on the manner in which it is used, who is using the language, its frequency and any special contextual justification. Aggressive uses of strong language may result in a film or DVD being placed at the 15 category. There is some allowance for puns on strong language at this category.
There may be moderate language (e.g. uses of terms such as ‘bitch’ and ‘twat’ at 12 or 12A).

Discrimination?

Any discriminatory language or behaviour will not be endorsed by the work as a whole. Aggressive discriminatory language (for example homophobic or racist terms) is unlikely to be passed at 12A or 12 unless it is clearly condemned.

Do 12A films contain sexual behaviour?

Sex may be briefly and discreetly portrayed at 12A or 12. Verbal sex references should not go beyond what is suitable for young teenagers. Comedy may lessen the impact of some moderate sex references or innuendo but frequent crude sex references are unlikely to be accepted at this category. There may be nudity in 12A films but nudity in a sexual context should only be brief and discreet.

Sex and sex references are treated the same irrespective of sexuality

Violence?

At 12A, moderate violence is allowed but it should not dwell on detail. There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if they can be justified by their context (for example brief sight of bloody injury in a medical drama).

Action sequences and weapons may be present at 12A or 12, and there may be long fight scenes or similar. Weapons which might be easily accessible to 12 year olds (such as knives) should not be glamorised in 12A and 12 works.

Sexual violence, such as scenes of rape or assault, may only be implied or briefly and discreetly indicated at 12A and 12. Such scenes must also have a strong contextual justification.

Can horror films be passed 12 or 12A?

Some horror films are passed at this category. Moderate physical and psychological threat is permitted at 12A or 12A as long as horror sequences are not too frequent or sustained and the overall tone is not disturbing.

Imitable behaviour or drugs at 12A or 12?

Dangerous behaviour (for example hanging and suicide) may be present in 12A or 12 works but will not dwell on detail which could be copied or present those activities in a manner that children are likely to copy.

Anti-social behaviour should not be endorsed.

There may be infrequent sight of drugs misuse in a 12A or a 12 but the portrayal should not be glamorised or provide instructional detail.

Certificate 15

What might I see in a 15 rated film or video?

Any of the following:

•   strong violence
•  frequent strong language (e.g. 'f***').
•   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 taking

How much strong language is allowed in a 15?

There could potentially be a great deal. At 15 there is no upper limit on the number of uses of strong language (e.g. ‘f***’).
Occasionally there may be uses of the strongest terms (e.g. 'c***'), depending on the manner in which they are used, who is using the language, its frequency and any special contextual justification. However, continued or aggressive use will not normally be passed 15.

What about discriminatory or offensive terms?

There may be racist, homophobic or other discriminatory language, and the work could explore themes relating to this.
However, at 15 the work as a whole must not endorse discriminatory language or behaviour.

How much sex and nudity is allowed at 15?

At 15 sexual activity can be portrayed, but usually without strong detail. Some sex scenes can be quite long at this category.

Though nudity may be allowed in a sexual context there will usually be no strong detail. There are no constraints on nudity in a non-sexual or educational context.

There can be strong references to sex and sexual behaviour, but especially strong or crude references are unlikely to be acceptable unless justified by context.

Sex and sex references are treated the same irrespective of sexuality

Can there be strong violence?

Yes, at 15 violence may be strong. It should not dwell on the infliction of pain or injury, however, and the strongest gory images are unlikely to be acceptable.
Strong sadistic violence is also unlikely to be acceptable.

What about sexual violence?

There may be detailed verbal references to sexual violence (for example descriptions of rape or sexual assault in a courtroom scene or in victim testimony) but any portrayal depiction of sexual violence must be discreet and justified by context.

What about horror works?

At 15 there can be strong threat and horror as long as there is no sustained focus on sadistic or sexualised threat.

Can you see drugs in a 15 rated film or video?

At 15 drug taking may be shown but the work as a whole must not promote or encourage drug misuse (for example, through instructional detail).
The misuse of easily accessible and highly dangerous substances like aerosols or solvents is unlikely to be acceptable at 15.

What about dangerous behaviour or things teens might copy?

We consider the risk of potential harm to impressionable teenagers. For example, dangerous behaviour such as hanging, suicide and self-harming should not dwell on detail which could be copied.
Whether the depiction of easily accessible weapons is acceptable will depend on factors such as realism, context and setting.

(Information from BBFC)

Alfred Hitchcock

Alfred Hitchcock was an English film director and producer and was nicknamed nicknamed "The Master of Suspense" because of his work in in the thriller genre. Hitchcock used many techniques in the suspense and psychological thriller genres. He first had a successful career in British cinema in both silent films and early talkies (sound films). In 1939 Hitchcock move to Hollywood to continue his career.

Hitchcock started his career because he was intrigued by photography and he therefore started working for a film production company in London as a title card designer. In 1920 he had a full time position at Isslington studios designing titles for silent movies. After a period of time he became a combination of screenwriter, art director and assistant director on a series of five films.
The first film Hitchcock directed independently was "The Pleasure Garden". Next, Hitchcock directed a drama called "The Mountain Eagle." Hitchcock's first thriller was "The Longer" which was about "Jack The Ripper" and was released in 1927, it was a major success. I 1929 he began working on his tenth film "Blackmail" which became Britain's first talkie (sound film).

When Hitchcock made career in Hollywood, he was Known for his suspense in films. His last ever movie was a spy thriller called "The Short Night" and was made in 1979.

Alfred Hitchcock Films.

Number 13 (1922) (unfinished) Always Tell Your Wife (1923) The Pleasure Garden (1925) The Mountain Eagle (1926) (lost) The Lodger: A Story of the London Fog (1927) The Ring (1927) Downhill (1927) The Farmer's Wife (1928) Easy Virtue (1928) Champagne (1928) The Manxman (1929) Blackmail (1929) Juno and the Paycock (1930) Murder! (1930) Elstree Calling (1930) The Skin Game (1931) Mary (1931) Rich and Strange (1931) Number Seventeen (1932) Waltzes from Vienna (1934)

The Man Who Knew Too Much (1934) The 39 Steps (1935) Secret Agent (1936) Sabotage (1936) Young and Innocent (1937) The Lady Vanishes (1938) Jamaica Inn (1939) Rebecca (1940) Foreign Correspondent (1940) Mr. & Mrs. Smith (1941) Suspicion (1941) Saboteur (1942) Shadow of a Doubt (1943) Lifeboat (1944) Aventure Malgache (1944) Bon Voyage (1944) Spellbound (1945) Notorious (1946) The Paradine Case (1947) Rope (1948)

Under Capricorn (1949) Stage Fright (1950) Strangers on a Train (1951) I Confess (1953) Dial M for Murder (1954) Rear Window (1954) To Catch a Thief (1955) The Trouble with Harry (1955) The Man Who Knew Too Much (1956) The Wrong Man (1956) Vertigo (1958) North by Northwest (1959) Psycho (1960) The Birds (1963) Marnie (1964) Torn Curtain (1966) Topaz (1969) Frenzy (1972) Family Plot (1976) The Short Night (1979) (canceled)

Shot List

Shot No	Shot type	Shot angle	Movement	Notes
1	Close up shot	No tilt	None	Shot of keys in a woman’s hand unlocking a door.
2	Mid shot	No tilt	None	The woman pushing the door open.
3	Mid shot	Slight High angle	None	From the other side of the door seeing the woman coming through. Then she exits the frame.
4	Mid shot	No tilt	Slight tracking following the character.	Women turning on several lights in the corridor aggressively then hanging up her coat.
5	Close up shot	No tilt	None	Women’s face, gives a sigh of stress.
6	Mid shot	No tilt	Tracking forward	Woman walking towards the kitchen door.
7	Close up shot	No tilt	None	Woman opening the door.
8	Mid shot	No tilt	None	Other side of the door. Woman entering the kitchen.
9	Close up shot	No tilt	Slight tracking following the character.	Women taking a cup out of a cupboard.
10	Close up shot	No tilt	None	Woman putting tea bag in her cup.
11	Close up shot	No tilt	Slight movement following the characters hand	Women pouring water into cup.
12	Mid shot	No tilt	None	Woman picks up her cup and exits the shot.
13	Mid shot	No tilt	None	Woman enters another room.
14	Mid shot	No tilt	Moves slightly inwards toward the character, then 360s around the character.	Woman sits down.
15	Mid shot	No tilt	None	The woman’s phone beeps so she takes it out of her pocket.
16	Close up shot over shoulder	High angle shot	None	Woman looks down at her phone and reads a text message. “……………………….”
17	Mid shot	Slight High angle	Slight tilt until the camera levels out.	Woman gets up and throws her phone on the sofa
18	Close up shot	Slight low angle shot	None	Showing the woman looking at the phone. Lingers on the phone.
19	Close up shot	High angle shot	None	The phone face up on the sofa.
20	Mid shot	No tilt	None	Woman enters the kitchen.
21	Mid shot	No tilt	Slight movement following the character.	Woman walks towards cupboard
22	Close up shot	No tilt	None	Woman takes pills out of the cupboard.
23	Mid shot	No tilt	None	Woman is about to take out a tablet but hears a noise and stops.
24	Close up	No tilt	Slight movement	Woman’s face (looks shocked) then exits the shot. Camera then focuses on the tablets that haven’t been taken.
25	Mid shot	No tilt	None	Woman entering the living room.
26	Mid shot	Low angle shot	None	Woman looking down, walking towards the sofa and looking at it with a confused and scared expression.
27	Mid shot	High angle shot	Slight track inwards	The phone on the sofa (screen down)
28	Close up shot	Slight low angle shot	None	Shows a reaction shot of the woman. Then hears foot steps coming from upstairs
29	Mid shot	No tilt	None	Woman walks slowly towards the door.
30	Mid shot	Slight high angle	None	From the other side of the door exiting.
31	Mid shot	No tilt	Slow tracking backwards	Woman walks down the corridor.
32	Mid shot	Slight low angle from behind the woman.	No movement	Woman looks up the stairs
33	Close up shot	Slight high angle	No movement	Woman’s face looking up, looks scared
34	Mid shot	Slight low angle	No movement	Woman tries to turn on the stairs lights but does not work.
35	Close up shot	No tilt	Not movement	Show her face looking frightened
36	Mid shot	Slight low angle	No movement	Woman walks slowly up the stairs.