Poster Ideas

This is my first poster idea. I feel that for a film of this type the most fitting poster should include only the most important details and even those should be included sparingly. As a result this example has only the title, release date and a quote from the dialogue serving as a tag line. The latter being at the very top with the first to being at the very bottom resulting in an space void of text in the middle which will attract the eye of of the potential audience to the images much more. The images are of various screen shots of different scenes from within the film with each shot of the same scene put into a vertical line so as to somewhat resemble actual film from a video camera.

This is the simplest yet quite effective in terms of its effect upon the audience. Again, it contains a still of a scene within the film and the title and release date but apart from that offers no real indication as to what the narrative is about. This will intrigue the viewer as they will want to find out more.

My final idea takes the form of a missing persons poster. Unlike the others it does not feature stills from the film or the films title, however it does feature information that taints the potential audience member as to the nature and content of the narrative unlike the others. Although this is much unlike the conventional film poster I feel that it will have just as much, if not more, of an impact and influence upon potential audiences members and the style is especially fitting to this type of film and its genre.

Film Poster Analysis

Film posters are an integral and intricate aspect of a films marketing strategy and even so are still almost discarded by a potential viewers conciousness, for this reason posters have to appeal to their subconscious whilst displaying enough information for them to deduct to an extent what the films narrative is about but also at the same time keeping some semblance of mystery so that they will want to see it. Here, I have analysed how three film posters from different genres do just this.

*Due to their size the images need to be clicked in able to view them as a whole and at a more readable size.

[REC]

Found footage / Horror

 

(500) Days of Summer

Rom-Com

 

The Rules of Attraction

Drama

 

Evaluation

Like all good texts I feel that my completed media product both follows and challenges the conventions of real media products within this genre. As is commonplace in film making in this time, the majority of successful films follow all of the right conventions, so as to please and stimulate the audience's imagination to what they associate expect of that specific genre, but also challenges them so to slightly reinvent and surpass expectations of the audience each time and to prevent the genre falling into too much of a platitudinous pattern.

With regards to my text it principally follows the 'bigger' conventions not only within its primary genre of found footage but also within those of its secondary genres of thriller, horror, and short film. Some of these include: The inclusion of a 'token' female who is portrayed as weak and defenceless which is more commonly linked to thrillers / horrors. Perhaps the two biggest conventions followed were pushing the boundaries of 'suspension of disbelief' and the fact that there is no definitive dénouement, the two of which are strongly linked to the found footage genre and without them the genre would not be the same.

Of course, some of the lesser conventions were also challenged, which was to be expected even before the narrative had been thought of as the found footage genre and short films happen to be two of the most 'stubborn' areas of film as their conventions so often contradict each other. Possibly the biggest convention of the short film that was challenged was the area of  sound. Sound is generally used much more copiously as there is only a fraction of the time available compared to that in feature films and sound, especially non-diagetic, can goad an audience into thinking / feeling a certain way towards a character / event much  quicker and smoother format than lines of dialogue can. Challenging this, my text contained an absence of non-diagetic sound as, following the conventions of the found footage genre, everything within the narrative is presented as real and outside of the film world, the addition of non-diagetic sound shatter the intended realism of the film and the suspension of disbelief becomes no longer intact.

After I had completed the editing of my text to the required five minutes in length I showed it to various friends and acquaintances in the hope of merely gaining an unbiased opinion of the overall product and narrative rather than anything else. However, the feedback from the majority of the people seemed to continuously point to the same small areas that they considered could be changed for the better. I took note of this and re-watched my text and discovered that their suggestions may actually change my film in a positive manner, I therefore made edits to my text for the final time. One of the two things changed was the small matter of changing a few words upon the opening title card as it was originally deemed to be rather ambiguous in meaning. The second being the bigger matter of shortening the ''electrical interference'' effect in the penultimate scene as it originally occurred continuously throughout the scene which made it difficult to see what was happening. Below are some screen shots of before and after the edit of this scene, in the after shot you can see how much clearer the scene becomes with the decrease in the effect.

The audience feedback enabled me to see slight errors and amend certain aspects that would have undoubtedly gone unnoticed without a third party involvement. I feel that this shows the importance of audience feedback as even if I hadn't have been able to go back and revise my text I would receive invaluable information to assist me in the making of my next production.

It is more than fair to suggest that without media technologies the execution and completion of this project would not have been at all possible. Below are examples of the most prominent of the technologies I happened to use.

Adobe Premier Elements & Video Camera
This is the editing software that enabled me to gather together all of my raw footage, which I first collected with the video camera, and construct it into a fully functional linear and comprehensible text during post-production.

Youtube
This website proved to be an invaluable tool that accompanied me throughout the research process. Here, I was able to gain access to various short films of all genres and analyse them which provided a great insight and knowledge into the conventions of these films and their genres as well as the pattern of audience feedback associated with each, both of which proved to be of extensive help as I embarked upon the making of my own text.

My Blog
Throughout the planning and evaluation stages my blog, and of course the internet, has shown to be one of the most useful outlets in terms of digital technologies. Through this I was able to accumulate  all of my work for my short film into one place which added simplicity and organisation to each of these stages as all information was made quickly and easily accessible. I feel that this had a positive effect upon all of my written work surrounding this project overall as previous works were easily referable which meant that all successive works were more coherent and detailed.

Mood Board

This is a collection of images that reflect the mood that I intend my production to have and reflect upon its audience. The moods being - Fear and darkness.

Filming Completed

Yesterday, keeping to the revised schedule, we completed filming for all scenes in both locations. Overall the filming went well and only took a few hours, however some problems did arise.

Problems
The main problem we faced was linked to the shooting of the exterior scenes in Bursted Woods. We had originally planned to arrive there in the early evening so it would be dark enough to create the right atmosphere but light enough to film deep in the woods, however the interior scenes had taken longer than expected so by the time we arrived it was approaching 9pm and, even with night vision turned on, too dark to see anything captured on camera apart from close ups. This happened with my AS project and the resolution we found was to film of the edge of the woods close to the road and shops which then gave a small amount of light and just enough to film the scenes. Unfortunately though, we could not do the same with this project as the camera needed to be quite the distance away from the characters to achieve a long shot. After some time of thinking and walking around the area we found the ideal solution - We used the road leading to the hospital. The road had street lamps spaciously place so this gave us just the right amount of light and, especially at this time of night, the road was hardly used by vehicles so this would give us enough time to film, privacy and lack of interruptions - or so we thought.

To film the scene I and another cast member hid by the side of the rode and slightly in the woods so we would be out of shot, the camera was placed in the road whilst the two characters involved in the scene were on the opposite side of the road. It seemed that every time we were almost finished with the scene a car came from the hospital so the actors had to quickly move from the road and the camera had to be retrieved so it was not damaged.

After this happened quite a few times it became frustrating so I told the actors to keep going with the scene for as long as they could until it was absolutely necessary that they had to move from the path of the car - this is when the biggest, but in the end the most helpful, problem arose. The scene was almost finished, the female character, Jennifer, is laying lifeless on the floor with the male character, Pelé,  in a white mask kneeling over her with his hands around her neck, at this moment a car came from the hospital but, as told, the actors remained in character until necessary. As the car came closer and slowed down Pelé ran out of its path into the wood but Jennifer had not yet noticed so was still in character lying lifeless on the floor as the car manoeuvred past her. After the car had gone we laughed about it and looked at the footage we had got to see if we could use any of it, everyone was with the camera on one side of the road except for Pelé who was on the other trying to fix his mask as it had snapped when he ran. At this moment another car drove up the road - a Police car. They stopped beside Pelé and immediately started asking him questions, another Police car also drove up, we all went over to see what was happening and when they saw the rest of us they looked surprised and said they had received a call about "A man in a mask attacking a girl", we came to the conclusion that the previous car must have celled them, after we had told them that we were actually filming a scene for my Media project they found it quite humorous and said the acting must have been convincing. After that, one of the Police cars stayed just long enough for us to finish filming the scene without any interruptions.

Filming

Filming could not be done at all today as all cast members had to stay behind in school to complete drama coursework and planning for their show. This was unforeseen and also due to other commitments filming can no longer take place on Friday 15th January either. We have all talked about this and have set a definite date to film all scenes on Tuesday 19th January.

Location List

Residential House
For all interior scenes we will use the same residential house. This is not for convenience purposes but due to the fact that the décor throughout has an extremely traditional and almost 'old' feel to it. This is thoroughly important to the mise-en-scene as I feel that we would not be able to create the same intensity of fear and suspense within the viewer if we had used a more 'modernly' decorated house. Also, the house belongs to one of the cast members, Jennifer, so we can use her actual bedroom as the location for her character's as in the script all interior scenes take place in her house.


Bursted Woods
All exterior scenes shall be shot in Bursted woods, the same location used for the woods in my AS level Media project. It is an expansive wooded area surrounding a hospital. I chose this location as I and the cast members know it well and the location is perfect for achieving the eerie feel we want to match the action in these scenes.


Railway Bridge
For the final scene with the masked character I have chosen a small footbridge above the railway near Bursted Woods. I also used this location for a scene in my AS Media project as the natural lighting in the area transfers as a great effect on camera.

Filming Schedule

When planning my AS level project last year we did not 'draw up' a filming schedule or location list of any kind and as a result the filming wasn't completed until the night before it had to be due in. This caused problems because one of the cast members couldn't film at that time so we had to find another person with just a couple of hours notice. Also, we had to shoot all scenes within a few hours and scramble around to find suitable locations in close distance of each other. To avoid this I have decided to create a definitive schedule and location list for this project.

Wednesday 13th January 2010
After dark on this day we plan to film all of the interior scenes which add up to a majority of the scenes overall. Shooting will take place in the residential house location that we have already secured.

Friday 15th January 2010
Again after dark, we will film the exterior scenes in quiet secluded wooded area so to match the ''eerie'' feel of surroundings and the helplessness of the character that is often prevalent in this type of film.

Script

A title card reads: The following events occurred from Friday 5th May to Sunday 7th May 2006 in London, England. The individuals contained withing it are at present "Missing presumed dead" by the governing authorities after an extensive manhunt to locate their whereabouts.

The footage was originally discovered at the scene by police and was initially taken as evidence. However, it was later seized by certain individuals who are outside the authority and laws of the British government.

INT. HALLWAY. NIGHT.

Two males are standing in front of a mirror. The slightly larger of the two has a small hand held video camera and is aimlessly recording.

From upstairs there is a faint sound of raised voices.

GAVIN

So it's working?

GARY

Yeah, I think so.

(Talking to himself)

Is it working? Is it working?

(Now talking to the camera)

Hello?

GAVIN

(Also talking to the camera)

Hello.

GARY

Hello hello hello. Oh look

GARY is now moving the camera backwards and forwards closer to the mirror.

GARY (cont)

Zoom. Zoom. Zooooom.

GAVIN

There's a button for that. I think it's there.

GAVIN points to the zoom button.

GARY

That one?

GAVIN

Yeah.

GARY begins using the zoom button but is also still moving the camera backwards and forwards.

GARY

Oh yeah! Zoom. Zooooom.

GAVIN

(Talking over GARY)

There's no need to move the camera. Stop moving the camera.

GARY complies.

GARY

(In a disheartened tone)

Okay.

GAVIN

(Realising there is nothing else to do)

Okay. Erm..

The raised voices has now become louder and more distinguishable. GAVIN notices this and looks up at the ceiling. GARY is oblivious to the sounds above him and looks at GAVIN.

GARY

What do we do now?

Knowing that the voices are coming from his twin sister JENNIFER and her boyfriend PELE a mischievous look appears on GAVIN'S face.

GAVIN

I think we should go upstairs..

INT. STAIRCASE. NIGHT

GAVIN and GARY ascend the stairs. GARY is in front still holding the camera.

GARY

Sh!

GAVIN

Hold on, are they arguing?

GAVIN and GARY are now close enough to hear PELÉ and JENNIFER arguing in JENNIFER'S room.

PELÉ

It's just a bit of cardboard.

JENNIFER

Look Pel, I've seen the programmes and I know what happens and I know that things go wrong and I don't want that happening to us. It does happen!

INT. UPSTAIRS HALLWAY. NIGHT.

GARY and GAVIN have now reached the top of the stairs and are close enough to the room to be able to get PELÉ into shot through the open door.

PELÉ

(In a condescending tone)

I brought it off of ebay!

JENNIFER

(Now more irate)

That doesn't make it any better!

PELÉ

Oh for God's sake. It was 2 quid, it's a piece of cardboard. It's not real it's a piece of card I want to scare the people that we're with. It's not real okay, it's fake, FAKE.

GARY and GAVIN are now filming in the doorway of the room with both PELE and JENNIFER in shot. They have not yet been noticed.

JENNIFER

(Now holding onto PELÉ'S arms)

Yes but you don't know, something could happen!

PELÉ

(Angered that she is being so pathetic)

What? Your Mum could slip on an ice cube? That's not because of the bloody board!

JENNIFER

But you don't know that!

PELÉ has now noticed GAVIN is filming them.

PELÉ

(To GARY)

Look just give us a second mate.

PELE shuts the door.

PELÉ (cont'd)

Gary just give us a second.

The door has not been shut properly so begins to open again. This time GARY just films them both through the opening in the door.

JENNIFER

Pele you should understand.

PELÉ

Listen, okay. I understand, I know you're scared, all I'm asking you is to just seriously grow up ust for 5 minutes and lets do this. Are you with me?

JENNIFER

If something bad happens then -

They both begin to walk towards the door.

PELÉ

(Interrupting JENNIFER)

If something bad happens then I tell you what -

JENNIFER

(Interrupting PELÉ)

- I blame you!

PELE

-I owe you a drink.

PELÉ has now noticed that GARY was still filming them.

PELE (CONT'D)

(To GARY in a mock angry manner and shutting the door on him)

Get out!

INT. STAIRCASE. NIGHT.

All four characters are now descending the stairs. GARY is leading the way with the camera and is still filming although unaware of this as it is pointed downwards.

JENNIFER

I'm only doing this for about five minutes.

PELÉ

Okay. That's all I ask. All I ask for.

GARY

(Mocking JENNIFER)

Ooooooh five minutes!

JENNIFER

(Ignoring GARY and replying to PELÉ)

Yeah. Okay then.

GAVIN

Can you guys not argue over the top of my head?

JENNIFER

Well we're not arguing it's just -

GAVIN

(Interrupting JENNIFER, in a sarcastic tone)

Right, yeah.

*Jump cut to indicate time has passed / Footage has been cut*

INT. LIVING ROOM. NIGHT.

All four characters are now sitting cross legged at a corner of a small table. The table has a Ouija Board on it with a glass in the middle. GARY has set the camera down on the sofa so everyone is in shot with the table in the center of the frame.

JENNIFER

I..feel really nervous about this.

GAVIN

I don't think I'm comfortable with this.

GARY

There's nothing to it!

GARY places his finger on the glass.

GARY (CONT)

You just put your hand on it and then it just goes!

Everone is silent for a moment.

GARY (CONT)

What's so hard?

PELE

(In an almost inspirational tone)

Guys, look, we don't need to be comfortable, we don't need to be nervous, we just need to do it. Okay?

PELE puts his finger on the glass.

GAVIN

(Agitated. Pulls PELE'S hand away from the glass)

No we don't need to do this aand I'm hot by the fire so I think I'm  just going to go.

GARY now begins to mock GAVIN by making chicken noises.

PELE

(Loud enough to be heard over GARY)

Gav come on! Come on mate.

JENNIFER

(Loud enough to be heard over GARY and PELE)

You're letting Gavin go!

GARY has now added ''wing'' actions to his chicken noises. GAVIN stands up.

PELÉ

Don't be stupid. Look, we're doing it, it's a piece of cardboard, seriously.

JENNIFER

(To GARY, talking over PELE and GAVIN)

Aren't you nervous?

GARY

No it's fine, you just put your bloody hand on it!

GAVIN

I'm not being stupid it's just...I'll watch I'm not going to leave you, I just -

PELÉ

(Interrupting GAVIN and is now annoyed how it bothers him so much)

No, no, it's fine. It's absolutely fine -

GAVIN

(Interrupting PELÉ)

- I just don't want to be involved in it, if you all die and I survive

PELÉ

(Interrupting GAVIN)

No it's fine alright it's absolutely fine.

GAVIN has now moved out of shot but is still in the room.

PELÉ (CONT'D)

You're paranoid, you're scared.

GARY

Take your feathers with you on the way out.

GARY has begun to make chicken noises again.

JENNIFER

Oh leave him alone! I respect it.

Offscreen the sound of a door opening and closing can be heard. GAVIN has now left the room.

GARY

(Mocking JENNIFER)

I respect him for that. I respect him for that.

JENNIFER

Eugh. Shut up.

Jump cut to indicate time has passed / footage has been cut but still the same scene.

The characters now take it in turns to ask the board questions - both serious and mocking questions.

*Actor Improvisation*

Various jump cuts are used also to indicate time has passed / footage has been cut.

After time has passed and various questions asked the sound is cut and the images captured on camera are distorted and flicker so to resemble electrical interference. This continues for a few seconds and as soon as it stops the smashing of a glass is heard in another room. All characters stop what they are doing and freeze. A look of shock, fear and surprise appears on JENNIFER'S face.

JENNIFER

(Not knowing what to make of the situation)

What was that?

GARY gets up and grabs the video camera. PELÉ also begins to stand.

PELÉ

(Also not know how to react or how the answer the question)

It's alright. It'll be nothing.

INT. KITCHEN. NIGHT.

Scene is intended to be one long continuous shot.

The three characters have no assembled at the doorway to the kitchen, where the sound came from. PELE and JENNIFER are in front whilst GARY is behind them.

*Mix of scripted and improvisation*

JENNIFER

(Pulling Pelé back by his arm)

I told you something bad was going to happen!

GARY

(Mumbling and pushing his way through to the kitchen)

Oh shut up. Move.

JENNIFER

Pele I don't want you going out there, let Gary go!

GARY

Oh, so it's alright for me to go is it?

We can see a smashed glass in the middle of the floor and the camera zooms in.

JENNIFER

(In a defenseless but almost apologetic way)

Oh...well..I'm not going out with you.

GARY

(Talking quietly to himself whilst zooming in on the broken glass)

What is that? What the hell is that? Where did it come from?

JENNIFER

(Not believing it but hopeful)

Do you think it was Gavin?

PELE

Gav! Gavin! Come in here!

GAVIN enters the kitchen.

GAVIN

(Unaware of what has happened)

What?

The other three characters are silent for a moment and look at GAVIN.

GARY

Did you did this?

Tension and tempers flare between all of the characters and they begin to argue about what has happened and who or what could have done it.

 *Actor Improvisation*

JENNIFER

Wait, I really don't think Gavin did do it, he was just as freaked out as I was!

GARY turns the camera so he is looking into the lens and shakes his head in disbelief.

PELÉ

(Willing to agree with Jennifer to end the argument)

Okay...that's fine, if he said he didn't do it -

GAVIN

(Interrupting Pele)

I didn't do it!

JENNIFER

(Getting almost hysterical)

So who did do it?!

GARY

(Pointing the camera at Jennifer and Pele)

Well...all three of us were in the room.

GARY now points the camera at GAVIN.

PELÉ

Gary, is the window open? Can you check the window?

JENNIFER

Gary stop filming!

GARY zooms in on GAVIN.

GAVIN

(Annoyed that he is still being blamed. To Gary.)

Fuck you!

PELÉ

Gary! Can you check if the window is open please?

GARY turns to the window and moves the curtains to check the window.

GARY

It's only open a little bit.

PELÉ

Well maybe there was a breeze okay? That's all I'm saying, maybe there was a breeze.

GARY and JENNIFER talk over each other upon hearing PELÉ'S explanation.

GARY

What, a breeze from over here that smashes a glass over there?

JENNIFER

Well it must have been a bloody big breeze!

PELÉ

(Slightly embarrassed as he realises the ridiculousness of his suggestion)

Well has anyone else got a better explanation? please, come on!

GARY

Erm...maybe -

Again, GARY points the camera directly at GAVIN.

GARY (CONT)

He did it!

GARY begins moving the camera backwards and forwards closer to GAVIN'S face as a zoom like in the first scene.

GARY (CONT)

(In a childish manner.)

See! I'm doing the thing that annoys you, even though there's a button and I don't have to!

GAVIN walks towards the camera puts his hand in front of the lens and pushes it down.

INT. LIVING ROOM. NIGHT.

All characters are now returning to the living room. GARY is leading.

GARY

Very funny Gavin, very funny.

GARY places the camera back on the sofa into the position it was before so that all characters and the Ouija board are in frame. All characters are standing so only their legs are in shot.

JENNIFER

I really don't think it was Gavin, I think we should stop blaming him.

PELE

(With hands on the Ouija board)

Okay Gav, you're off the hook lets go again.

JENNIFER

I don't want to do it again and neither does Gavin.

GARY seems oblivious to what is going on around him and sits back in the same position and place at the table that he was before, looking at the camera to make sure it is straight.

PELE

Neither does Gavin? You can't speak for Gavin.

JENNIFER

I can speak for Gavin.

GAVIN

I don't want to do it, so..

PELE

Alright. If you don't want to you don't have to be here. Leave.

JENNIFER

It's my house!

PELE

I'm not talking to you, I'm talking to Gavin!

JENNIFER

He's my brother!

PELE

Well he doesn't have to be here, does he?

GARY now gets up.

GARY

He's her brother and he's such a -

GAVIN

(Interrupting Gary.)

I sort of do because I live here.

GARY

- chicken!

GARY begins making chicken noises and movements like before.

JENNIFER

(To Gary.)

Stop winding him up!

GAVIN

He's just being a dick.

PELE

Right, so no one is doing this, no one is doing this is that what we're saying? Everyone's chickening out because -

GAVIN

(Interrupting Pele.)

Well we're not doing it!

PELE

- because of a glass?!

JENNIFER

(To Pele.)

Are you not freaked out by that?

PELE

(In disbelief.)

No.

Jump cut to indicate time has passed / footage has been deleted.

JENNIFER, PELE and GARY are now sitting around the table and in the same positions as before. GAVIN is standing by the kitchen door, his legs are just in shot.

GARY touches his finger on top of the glass.

GARY

Will I -

GAVIN

(Interrupting Gary.)

Ask it why we're still doing this.

Jump cut to indicate time has passed / footage has been deleted.

GARY is still playing around with the glass and mumbling questions to the board.

PELE

Listen, if you don't like it, if it's scaring you, why are you here?

GAVIN

(Ignoring Pele.)

Are you guys both wankers?

GAVIN moves the glass whilst GARY is still touching it and slides it over to 'yes'.

GAVIN (cont)

(Mock surprise and bewilderment.)

Wowwww.

PELE and GARY choose to ignore him. JENNIFER is looking away in a daze. GAVIN walks towards the camera.

GAVIN (CONT)

I'm leaving. I'm tired of this shit.

GARY

Why?

GAVIN

Because I am! And I'm taking my camera with me.

GARY

(Like a child who's toy has been taken.)

No...wha...I've been using -

PELE

(To Gary.)

Forget about the bloody camera.

GARY tries to take the camera from GAVIN. This isn't caught on camera as GAVIN isn't as eager in filming every moment like GARY. Instead, the camera is by GAVIN'S side and is filming downwards.

GARY

(To Gavin.)

Give me-

GAVIN

(Interrupting Gary.)

No get off!

GARY

Just give me the camera!

GAVIN

It's my camera!

PELE

Seriously just forget about the camera, don't worry about the camera.

GARY has yet again referred back to making chicken noises and actions.

JENNIFER

I'm going to go with him. You didn't listen to me, weird stuff has happened.

PELE

Oh thanks Jen, thanks.

JENNIFER

(Angry.)

I didn't want to do this anyway!

PELE

(Sarcastically.)

Yeah, thanks for the support. See you later.

GAVIN and JENNIFER leave the living room.

Fade to black.

A title card reads: Saturday 6th May 2006. Footage from this day was deemed too 'sensitive' to remain on record and subsequently destroyed. However, based on accounts and investigation it is clear that the disappearance of both Gavin Qaphsiel and Gary Bathin occurred on this date.

INT. KITCHEN. NIGHT.

JENNIFER is standing in the kitchen with her back to the doorway. The camera moves towards her. We do not yet who is behind it. For a few seconds the sound is cut and the image distorted and blurred so to resemble electrical interference. The camera is set down upon the table close to JENNIFER. The curtains are blowing lightly from the breeze of an open window. PELE emerges from behind the camera puts his hand over JENNIFER'S mouth and drags her away.

EXT. WOODS. NIGHT.

The sound is cut and the image is distorted and blurred so to reflect electrical interference.

PELE is wearing a white mask holding the video camera in one hand and dragging JENNIFER along with the other. He places the camera on the floor. JENNIFER tries to run but PELE catches up with her after a few paces. The image is no longer distorted and blurred but there is still no sound. PELE grabs JENNIFER and throws her to the floor. He kneels over her with his hands around her throat and strangles her. 

Jump cut to indicate time has passed / footage has been deleted.

Sound has returned. PELE is now standing to the left of JENNIFER'S body, he is still for a moment and then turns, runs towards the camera and picks it up.

Fade to black.

EXT. BRIDGE. NIGHT.

The camera has been placed on the floor with PELE to the center right of the frame. He sits on the floor of a bridge with his legs close to his chest and his hands together on his knees. He screams.

Jump cut to indicate time has passed / footage has been deleted.

PELE is in the same position except now he has a hand on each temple and is rocking back and forth.

Fade to black.

Character Profiles

Name: Pelé Paimon

Sex: Male

Age: 18

Occupation: Student

Character Role: Round

Character Relations: Boyfriend of Jennifer Quaphsiel. Best friend of Gavin Quaphsiel and Gary Bathin.

Pele has a sense of leadership surrounding him and is therefore the most dominant member of the group opinion wise. He originally comes from a working class background but was adopted at a young age into a family with above average income. Adoptive parents both work in the medical profession and as a result Pele wants to attend medical school and follow in their footsteps.

Pele has been friends with Jennifer, Gavin and Gary since childhood as their parents are close friends and they have attended the same schools since nursery. He is a calm, confident and determined character.

Name: Jennifer Quaphsiel

Sex: Female

Age: 17

Character Role: Static / Stock

Character Relations: Girlfriend of Pele Paimon. Twin sister of Gavin Quaphsiel. Friend of Gary Bathin.
From a young age Jennifer has wanted to become a lawyer, as a result of this desired career profession she is not ‘easily led’ or gullible. Even though she has a level of high intelligence her common sense is lacking and therefore at times can seem a little ditzy and dumb. Her father is a film director, her mother is a writer - As a result they travel a lot and she and her brother are often left at home to look after themselves.

Exceedingly close with her twin brother Gavin whom she tells everything to. As children they were inseparable which is why she also has a strong friendship with her brother’s best friends Gary and Pele who later became her boyfriend.

Name: Gavin Quaphsiel

Sex: Male

Age: 17

Character Role: Static

Character Relations: Twin brother of Jennifer Quaphsiel. Best friend of Pele Paimon and Gary Bathin.

The most calm and level-headed character, he is not easily led and is determined for his opinions to be heard and listened to. Very literary minded and has hopes to study literature at Oxbridge and eventually become a journalist or critic. Comes from a middle class family and he and his sister usually get whatever they want but are not pretentious or ‘bratty’ about their financial state and are quite grounded.

Close to his twin sister and only sibling. Has known best friends Gary and Pele since childhood.

Name: Gary Bathin

Sex: Male

Age: 18

Character Role: Flat

Character Relations: Friend of Jennifer Quaphsiel. Best friend of Gavin Quaphsiel and Pele Paimon.

The most immature member of the group, Gary is a joker and likes to play tricks on his friends. He comes from a middle class family and is the only male child with three younger and two older sisters. His mother inherited a small fortune and as a result does not work, his father is the CEO of a company. As the only son Gary is constantly spoilt by his parents and gets whatever he wants and thinks this should be true in every aspect of life. Unlike the other characters he is pretentious, not very strong academically and has no firm career aspirations apart from ‘being rich’.

Has known Gavin, Pele and Jennifer since childhood which would explain why they put up with his personality and outlook of the world as they have known him almost their whole life.
  

Notes on the characters' names:

• Paimon - In Christian demonology Paimon is one of the kings of hell and the most obedient king to Lucifer. He also has 200 legions of demons under his control. This shows why the character of Pelé is more susceptible to possession and is the strongest both physically and mentally.
• Quaphsiel -   In ancient Hebrew, Quaphsiel is the angel that guards the seventh heavenly hall and is invoked to drive away enemies, namely demons. It is fitting that this is the surname of the twins as they are the two characters who are against using the Ouija board and warn the others of what dangers there could be.
• Bathin - In Christian demonology Bathin is a Duke of hell who can bring a man from one country to another. Also, the demon Bathin is prone to lies and is often difficult for one to determine when he is being truthful. This is fitting for the character of Gary as, although it isn't explicitly stated in the narrative, he is involved in the disappearance of Gavin Quaphsiel and, personality trait wise, is a liar.

Inspirations

Mike Leigh
Mike Leigh is a British film and theatre writer and director famed for his commencing his works without a script and creating a storyline through lengthy improvisations that take place over a series of weeks. He starts with a brief idea of how he imagines the narrative might develop and only reveals this to the actors within the project when it is integral to their character development and captures their 'realist' responses.

The Blair Witch Project / Cloverfield / REC
These three contemporary films all belong to the found footage genre. All three involve 100% or a majority of improvisation which is a great effect as at times their reactions to certain events within the narrative mimic those of the audience which gives them something to relate to. All were also met with phenomenal success both critically and audience wise and are a prime example of what can be achieved in this genre with simple originality and the following and breaking the right conventions.

  
How They Relate To My Project
Taking note from Mike Leigh and the three feature films I will give my actors a brief summary of the entire plot and the conclusion that I want each scene to reach and what paths I want to be taken to get there whilst letting them have otherwise free rein over their actions and dialogue. Therefore the majority of the content in 'Deamons' shall be improvisation from the actors as I feel this will make the performances much more believable and enable the text to have a stronger sense of realism and relatability to the audience that is so important and sought after in this specific genre.