See No Evil opening

0 sec - mechanical movements
15 sec - fade up to 'LIONSGATE'
37 sec - 'WWE FILMS'
39 sec - dull image, midshot of caravan, with tipped over bike in extreme close up - 'LIONSGATE and WWE FILMS present'
43 sec - White flash, flicker of writing
44 sec - writing quickly fades up and off screen
45 sec - flash, close up of cockroach
46 sec - repeated image of caravan, close up
48 sec - extreme close up of eyes
50 sec - repeated image of caravan, even closer
51 sec - fade to black
52 sec - flicker to extreme close up of a fly on the top of a bin, 'a WWE FILMS production in association with LIONSGATE' image blurs repeatedly
56 sec - fade to black screen
58 sec - extreme close up of cage with clothes inside
59 sec - White flicker
1:00 - black flicker, fade to black
1:02 - extreme close up of ear, 'Kane'
1:05 - writing quickly fades up and off screen
1:06 - fade to black
1:06 - extremely quick flicker, extreme close up of children's doll, broken and distorted
1:07 - extremely quick flicker, close up of a boy in a corner, facing the corner, dirty
1:07 - extreme close up of rubbish in a bin
1:08 - extremely quick flicker, extreme close up, boy crying
1:08 - extremely quick flicker, long shot boy facing corner again, same shot, close up of a crucifix candle holder
1:09 - lights flash bright
1:10 - 'see no evil'
1:11 - same shot, extreme close up of record player, record spinning
1:12 - 'see no evil' begins to flicker
1:13 - flashes then a jumble of images appear
1:15 - many images have repeated in last 2 seconds from the very beginning
1:16 - long shot of police car, 'Christina Vidal'
1:20 - car and camera both move and meet at close up shot, 'Michael J. Pagan
1:21 - extreme close up of car licence plate and bumper area
1:23 - extreme close up of door opening and feet exiting car
1:26 - low angle long shot of derelict building and police car parked in front of it, 'Samantha Noble' 'Steven Vidler'
1:31 - POV shot from under house, tree roots etc, 2 police men walking towards camera, 'Cecily Polson' 'Luke Pegler'
1:35 - low angle long shot of 2 police men walking through garden
1:38 - repeated POV shot, 'Rachael Taylor' 'Penny McNamee' 'Craig Horner'
1:42 - low angle close up of police men walking up stairs to derelict house
1:45 - repeated image of low angle long shot of derelict house with police car in front, 'Mikhael Wilder' 'Tiffany Lamb'
1:50 - high angle close up of police men at door
1:52 - extreme close up of door knocker
1:53 - low angle mid shot of 2 police men
1:57 - extreme close up of police mans face
1:59 - close up of door knocker
2:00 - door opens.

Title sequence of See No Evil and Scream 4

With my horror opening I wanted to see what similar films had produced in their title sequences, so I watched 'Scream 4' and analysed it as I did with the films 'Se7en' and 'The Italian Job'. I remembered seeing a film called 'See No Evil' and I really liked the title sequence of that film, and wanted to incorporate some of the ideas, so I also analysed the title sequence in this film. (I shall enter these in my next post) I wanted to merge the two ideas together but have my own ideas incorporated.

Final script (just speech, not camera shots and action of characters)

Aleisha ; thanks for keeping me company

Emma ; that’s alright, when does your mum get back?

Aleisha ; in the morning

Emma ; alright then, do you wonna give me a call tomorrow?

Aleisha ; yeah I’ll give you a ring and let you know what I’m up to and that and I might meet you later

Emma ; alright see you later

Aleisha ; see you

Emma ; bye

# PHONE RINGS #

Aleisha ; hello?

Toby ; So, who’s your friend?

Aleisha ; what? (pause) who is this?

Toby ; All alone now, don’t you think you’d better shut that door?

# HANGS UP PHONE #

Aleisha ; oh my god, what the f**k?!

# PHONE RINGS #

Aleisha ; who is this?!

Toby ; just an old friend

Aleisha ; please, leave me alone, or I’m going to call the police

Toby ; I wouldn’t do that if I were you.

Aleisha ; please just leave me alone!

Toby ; or I’ll smash down the front door!

# LONG PAUSE WHILE CHARACTERS MOVE AROUND #

Aleisha ; (screams)

Change to script 2

We decided to further change our script by starting the film with a conversation between Aleisha and Emma, which explained to the audience that I would be in my house alone for the night. We decided to use a familiar theme in Horror films which is phone calls, this was made most famous by 'Scream' and 'When a Stranger Calls'. The conversation on the phone also changed (In my next post I shall include a finalised script) frrom what we originally wrote. We also had to change the ending due to the lighting outside, we wanted to use low key lighting, but it was then too dark for the camera to pick up. The film finishes with Aleisha on the phone to Toby, Toby says "Don't you think you'd better shut that door"? There is then a close up and low angle shot of Aleisha running to the door, slamming it shut, turning round in slow motion and sliding to the floor down the door and screaming. This is shown in a Point of view shot from Toby, who is standing in the kitchen. We wanted to convey to the audience that Toby had tricked Aleisha with the line "Don't you think you'd better shut that door"? As Aleisha shut the front door, but he entered through the back door.

Changes to script

We have changed our script, we now start with Aleisha saying goodbye to Abbie, this means we also cut out the first phone call. We also now finish with the line "where are you, I don't believe you" and then there's a slam at the kitchen window, with Toby holding Abbies face against the window, covered in blood.

This is our production logo - Selenic Studios

Script for Horror Film

(POV shot of kitchen into lounge)
Aleisha - here you go
Abbie - cheers
(phone rings / CLOSE UP)
Aleisha - hello?
(MID)
Phone - you look pretty tonight ...
Aleisha - why thankyou
(Abbie and aleisha both laugh)
- SILENCE - (POV)
Aleisha - who is this?
(MID)
(phone goes dead)
Aleisha (to Abbie) - well, that was odd
(both laugh)
Abbie - right, I better go, cheers for the cuppa
Aleisha - alright, see ya later (sees Abbie out / CLOSE UP) Bye! (LONG)
Abbie - bye
(phone rings / CLOSE UP)
(POV from garden into house)
Phone - thank god she left
Aleisha - what? Who is this?
Phone - you'll see
Aleisha - what's that supposed to mean?
Phone - your hair looks nice straight
Aleisha - who is this? Where are you?
Phone - I can't tell you that ...
(man walks past back window, I turn but he's already gone)