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.

Synopsis

Synopsis

My short film within the found footage, thriller, horror genre is going to be called Daemons. The narrative of my film will revolve around a small group of four friends - Jennifer, Gary, Pele and Gavin - who decide to use / play with an Ouija board.

We will follow: Their reactions and feelings before the event of using the Ouija board / how they feel and what they are doing during the event / What happens during the even and what causes some of them to leave / What happens the subsequent days as a result of the 'consequences' of 'messing' with the board. The film will be presented as if found by an outside source and made it public for people to be made aware of what really happened over the respective days that each of the characters disappeared.

Following conventions, Daemons will only involve four main characters in locations, which in this case will be a house and woods, that are far from a lot of people and as a result - help.

The only female character within the narrative is reluctant to take part as she believes that there are consequences and that there really is truth in the theory that Ouija boards can be used to contact the dead / spirits and can open some sort of 'doorway' between the worlds that can result in negative things happening to all those involved in the process. Two of the male characters - Her boyfriend Pele and his friend Gary, are enthusiastic about using the board are un-phased by the possible negative outcomes and are almost forceful into goading the female into it. Her twin bother Gavin is also present and is also uneasy about the board, he chooses not to be involved and leaves. The three left begin and after time has passed they hear a smash and run out to see what has happened. Scared and confused they blame it on Gavin who comes downstairs and remains adamant that he did not smash anything. They all argue. After a short time has passed they go back to the room with the Oiuja board, the twins don't want to continue and try to persuade the others not to either. Again, they are met with ridicule so they leave and take the camera with them.

A title screen will then be shown with text saying that Gavin and Gary disappeared the next day but footage from the event was too sensitive too be shown and was therefore destroyed. The video camera belongs to Gavin which explains why the incident surrounding his disappearance is on camera but not why Gary's is also or how, in the next scene, Pele has the camera. The explanation for this which is not going to be explicitly stated in the film is that Gary and Pele are the cause of the disappearance and have been 'possessed' by demons as a result of 'opening a door' when they used the Ouija board.

The third and final day will show the character of Jennifer being kidnapped and killed by a possessed Pele in the middle of a wooded area. This is where the film will end.

Notes

• Daemons will be presented as if found by an unknown source who took it from the possession of an unknown agency who are answerable almost to no one and have the authority to operate outside the laws of the British government.
• This unknown agency in turn confiscated the footage from British Police possession and edited out certain parts, this will explain the absence of some footage and the excessive jump cuts seen throughout the final product.
• The unknown source has not edited the footage at all and has only included title cards explaining certain things. Apart from that, they published the footage as found.
• Of course, as is popular within this genre, more questions are posed throughout the duration of the text than are answered, which will most likely never explicitly be answered if at all, such as - Who are the unknown agency and why do they want the footage?, Why has it taken almost four years for the footage to be released?, With the overwhelming evidebce against certain characters why are they all being treated equally as missing persons and not criminals? These are just a few that the audience will be passively goaded into subconsciously asking. Others will also be posed but the nature of which will depend on the differing factors of upbringing, social status, life experience etc. of the audience, of which no two will be exactly matched ensuring a different outcome.

Target Audience

It is crucial for all film makers to have at least a basic idea of their target audience so that the production can better appeal to and meet their specific wants and desires met through the watching of a text.

Age
Late teens to mid / late twenties.
This genre however generally has a somewhat wider target audience, late teens to late twenties and even early thirties, however I feel that as the characters within the narrative are quite young and at the lower end of that target I presume that that will bring the overall target down as if there is too big of an age and generation gap from the characters to the audience then it will weaken the relatabilty and, indirectly, the suspension of disbelief that is so important remains completely intact with films of this genre than any other.

Gender
Predominantly male. 
Although, reaching outside the core audience, the inclusion of a sole female character with an otherwise male cast will appeal to this lesser reached demographic within the genre but also, at the same time, may exclude them as much like other genre specific texts the female portrayed isn't shown to be especially strong emotionally or physically and embodies the weak stereotype so often present in this genre.

Socio-Economic Group
If it were to follow the social class of the characters within the narrative then the target would A, or middle class - the clothing, mise-en-scene and vocal patterns show this. However, as most films within this genre, and the close genres of thriller and horror, generally appeal to mainly below this group so as a result the socio-economic group will be C1 through to E, or lower-middle class to working class.
( http://www.marketresearchworld.net/index.php?option=com_content&task=view&id=2918&Itemid=78 )

Ethnicity
Again, following the ethnicity of all of those within the narrative and the absence of any ethnic minority groups the specific target will predominately be Caucasians. However, generally speaking and reaching beyond the core audience, as there is no derogatory reference or discrimination to any other ethnic minority group within the narrative therefore all ethnic groups will be indirectly targeted.


Fan of the Genre?
Assumability and viewing patterns tell us that if an audience expresses a desire to see this film then they almost certainly already have knowledge of and are a fan of this specific genre and the genres of thriller and horror. As a result, the film maker can deduct from other alike films and audience responses what the target audience wants to see and cater specifically to their taste and need.
 

Research - Films Within the Same Genre

For research I also watched short films that belong to the same genre as the short film I am making.

No Title
http://www.youtube.com/watch?v=i5KW2d1OaFA

This was the first short film I watched and although it doesn't fit directly into the found footage genre it has a close resemblance to the narrative of my production. It follows three friends as they use or 'play' with a Ouija board. Although the main body of the film is the friends actually filming themselves whilst using the Ouija board rather than what happens before or after whereas I want to focus more on the aftermath. As the idea of this is close to my own it proves to be useful as I can see what works and what doesn't e.g what the viewers need to see more or less of / what camera angles to use or not / camera placement etc.

Unlike most short films this was unconventionally dialogue heavy, there was rarely a moment where a character wasn't talking which, for me, even though the film as a whole isn't very good, ruined it as I felt it was just too much. The character's accent played a huge part in this, there is a reason why so few characters with a Southern USA accent rarely appear or only make a small appearance in films. Also, another point about the sound - At times I could faintly hear a television in the background most likely in another room, It had no place within the narrative so I am quite sure this was accidental. This mistake ruins the otherwise obvious intended realism of the film  and breaks the suspension of disbelief.


It proved difficult trying to find short films within the found footage genre so as a result I looked to feature films as films within this specific genre have experienced a surge in popularity since the release of The Blair Witch Project.

Cloverfield (2008)
http://www.youtube.com/watch?v=ufYF0f-zMgY

Follows a small group of people as they try to escape a city that is being attacked.
Personally, I find this to be one of the best examples within the genre - it conforms to an amount of the conventions but also breaks them whilst still holding the suspension of disbelief perfectly. Cloverfield is more than likely the film with the biggest budget ever within this genre which is highly unusual as film makers generally feel that a bigger budget with this kind of film will ruin the realism aspect. The bigger budget is obvious through the use of special effects - explosions / gunfire / monsters. A big convention broken is that we actually see what the characters are running from rather than just hear it or have second-hand accounts from other characters within the narrative that have seen it out of shot. Another one is that the group of people we follow are in the middle of a city with hundreds of other people experiencing the same thing - conventionally events in this type of films happen in secluded country areas and empty houses where no-one else is aware of what is happening.
Unlike the other films I researched,Cloverfield had an actual cameraman working the camera as opposed to an actor and character within the story having control over it. To the viewer it seems as if the character has the camera but in the 'making of' featurette it is revealed to be a cameraman with the character always standing beside or behind him out or shot so his voice will be captured and he will appear to be in control of the camera. This is how I want to work my short film idea.

Paranormal Activity (2007)
http://www.youtube.com/watch?v=OSSqxrh5kp8

About a young couple who film their experience of and trying to deal with a 'Demon' in their house. This film was made with as little input from the director as possible, the actors were told what the director wanted the film to achieve and then let them improvise and have sole control of the camera. This was also the closest feature film storyline to that of my own short film.

The Blair Witch Project (1999)
http://www.youtube.com/watch?v=D51QgOHrCj0

The story revolves around three people making a documentary for their university project when they get lost in the woods. The characters in this also had control of the camera and dialogue was often impovised. Most of the reactions of the characters whilst they are in the woods is real as they were not told exactly what was going to happen as the creators wanted everything to appear realistic.

Closely following the conventions of this genre all actions within the narrative take place in the countryside and a secluded wood far from urban life. The relationships between the characters also becomes increasingly strained as the narrative reaches its dramatic climax and the atmosphere remains this way until the abrupt ending.