Storyboard

Storyboard for "Pay Me in Blood"

Analysis of the Title Sequences

Title Sequences

 

Generally in British films or TV programs, titles are usually shown in the following order:
(1) 'Your Production Company' Presents
(2) A Film by 'One name - usually the director'
(3) Starring or With
(4) Male star
(5) Female star or other way round
(6) Title of film - or could be at the end
(7) Also starring - 2/3/names - each on seperate title
(8) Then 3/4/5 of the following - you choose - each on seperate title
Editing
Music
Cinematography or Director of Photography
Casting
Set Designer
Costume Designer
Script
(9) Then Producer(s) - can be more than one
(10) Always finish with Director - one name, usually the same as A Film By ...
(11) Could put title here
Remember to use LiveType and try to make titles interesting. They can be either over black or superimposed over your film. Space them out over the two minutes of the film.Give the audience plenty of time to read the titles.
(12) Finish with a fade out & fade music out

A title sequence is the method by which films or television programs depict their title, key production and cast members, utilizing conceptual visuals and sound. It usually follows with the opening credits, which are generally nothing more than a series of superimposed text.

Here are some of the title sequences from thrillers are shown below:


 

Location Sheet

 

Production Schedule Location Visit Sheet   Programme Title: Pay Me In Blood Client: Writer: Beth Agar Producer: Beth Agar Director: Beth Agar Date:

Rough Sketch/Explanation of location and key points to note  Location set within an isolated bathroom ajoined with a long corridor. Access to location via:  North entrance of Robert Clack Comprehensive School    Name and number of location contact:    Robert Clack Comprehensive

Health and Safety Issues to note:   ●         Careful of electrical appliances in a wet room.

Potential Filming Problems :   ●          Main scene will take place in a bathroom, careful of electrical appliances.

Additional Notes:  (map of area/weather forecast etc)

 

Risk Assessment

Risk Assessment

Group Members:                                                    Location: Robert Clack Leisure Centre

Hazard	Person(s) at Risk	Likelihood of Hazard 1 – Extremely Unlikely 5 – Extremely Likely	Severity of Hazard Outcomes 1 – Very Low Risk 5 – Very High Risk	Risk Level (Likelihood + Severity) 2	Measures to Take to Manage Risk	Risk Managed? Y/N
Water on the equipment	Cinematographer	2	2	4	Make sure both camera and cinematographer are as far away from water as possible.	Yes
Slippery Surfaces	All accountable staff	2	2	4	Enable all surfaces to be as dry as possible	Yes

Contacts

Emergency Service:     
Robert Clack School:     
Other Contacts:

Shot List

Shot List
Scene	Shot Number	Description
The Body Revelation Flash-Back The Call	5 5 4 4, 4, 4-5, 4-5 10	The victim wakes up next to a body, strangulated with their own tie. She scrambles out of the bathroom, terrified and bewildered, and makes a hasty retreat away from the crime scene, unaware that the killer is still lurking around. The killer reveals herself from her hiding place and immediately enters the bathroom to find the body on the floor. She leans down and smiles in rememberance. 'Flash-Back' - The killer (in disguise ) follows the victim and kills him. Removing her disguise, she is about to retrieve the USB when she hears someone approaching and quickly hides. The victim enters the bathroom, sees the body, and is about to scream when she is swiftly rendered unconscious. Shaking herself out of her reverie, she snatches the USB and exits the bathroom, taking a phone out of her pocket as she goes. She stops outside of the bathroom, calling her employer to inform that the task is completed, unaware that the victim is listening to the conversation. The killer hangs up, and begins to walk to where the victim is hiding. The scene ends ubruptly there.

Treatment

Treatment

Group Roles   Cinematography: Beth Agar Mise-en-scene: Beth Agar Sound: Beth Agar Editing: Beth Agar

Title: (Working Title) Pay Me In Blood

Synopsis:   Slick, femme-fatal, spy thriller during which a victim is lured into an assasin's trap to steal his USB for her hirer, and a poor unsuspecting bystander is caught in the line of fire.

Key Genre Conventions: What aspects of a thriller are incorporated into my thriller? - Suspence at the end - cliffhanger. - Elemets of mystery - the hirer's identity remains covert. - Use of a McGuffin - the USB.

No Country for Old Men

No Country for Old Men

 

No Country for Old Men (2007) is an American neo-Western thriller by Joel and Ethan Coen (co-directors/writers/editors) based on the Cormac McCarthy novel of the same name. The film stars Tommy Lee Jones, Javier Bardem and Josh Brolin and tells the story of an ordinary man to whom chance delivers a fortune that is not his, and the ensuing cat-and-mouse drama as the paths of three men intertwine in the desert landscape of 1980 West Texas. Themes of fate, conscience and circumstance re-emerge that the Coen brothers have previously explored in Blood Simple and Fargo.
The film premiered in competition at the 2007 Cannes Film Festival on May 19. Among its four 2007 Academy Awards were Oscars for Best Picture, Best Director, and Best Adapted Screenplay, allowing the Coen brothers to join five previous directors honored three times for a single film. In addition, the film won three British Academy Film Awards (BAFTA) including Best Director, and two Golden Globes. The American Film Institute listed it as an AFI Movie of the Year, and the National Board of Review selected the film as the best of 2007.
No Country for Old Men appeared on more critics' top ten lists (354) than any other film of 2007, and was regarded by many critics as the Coen brothers' finest film to date. Roger Ebert of the Chicago Sun-Times called it "as good a film as the Coen brothers...have ever made," The Guardian journalist John Patterson said "that the Coens' technical abilities, and their feel for a landscape-based Western classicism reminiscent of Anthony Mann and Sam Peckinpah, are matched by few living directors," and Peter Travers of Rolling Stone said that it is "a new career peak for the Coen brothers" and is "as entertaining as hell."


The project was a co-production between Miramax Films and Paramount's classics-based division in a 50/50 partnership, and production was scheduled for May 2006 in New Mexico and Texas. With a total budget of $25 million (at least half spent in New Mexico), production was slated for the New Mexico cities of Santa Fe, Albuquerque, and Las Vegas (which doubled as the border towns of Eagle Pass and Del Rio, Texas), with other scenes shot around Marfa and Sanderson in West Texas. The U.S.-Mexico border crossing bridge was actually a freeway overpass in Las Vegas, with a border checkpoint set built at the intersection of Interstate 25 and New Mexico State Highway 65. The Mexican town square was filmed in Piedras Negras, Coahuila.
By coincidence, filming in Texas took place not far from that of another Best Picture nominee, There will be Blood and one day smoke from the neighboring shoot forced the production to shut down.
In advance of shooting, Cinematographer Roger Deakins saw that "the big challenge" of his ninth collaboration with the Coen brothers was "making it very realistic, to match the story.... I'm imagining doing it very edgy and dark, and quite sparse. Not so stylized."
"Everything's storyboarded before we start shooting," Deakins said in Entertainment Weekly. "In No Country, there's maybe only a dozen shots that are not in the final film. It's that order of planning. And we only shot 250,000 feet, whereas most productions of that size might shoot 700,000 or a million feet of film. It's quite precise, the way they approach everything.... We never use a zoom," he said. "I don't even carry a zoom lens with me, unless it's for something very specific." The famous coin-tossing scene between Chigurh and the old gas station clerk is a good example; the camera tracks in so slowly that the audience isn't even aware of the move. "When the camera itself moves forward, the audience is moving, too. You're actually getting closer to somebody or something. It has, to me, a much more powerful effect, because it's a three-dimensional move. A zoom is more like a focusing of attention. You're just standing in the same place and concentrating on one smaller element in the frame. Emotionally, that's a very different effect."
In a later interview, he mentioned the "awkward dilemma [that] No Country certainly contains scenes of some very realistically staged fictional violence, but... without this violent depiction of evil there would not be the emotional 'pay off' at the end of the film when Ed Tom bemoans the fact that God has not entered his life."

Source Code Analysis

Source Code

 

An action thriller centred on a soldier who wakes up in the body of an unknown man and discovers he's part of a mission to find the bomber of a Chicago commuter train.

 

Director: Duncan Jones

Writer: Ben Ripley

Stars: Jake Gyllenhaal, Michelle Monaghan and Vera Farmiga

 

•      The story line keeps you on the edge of your seat and adds in enough humour to make it a thoroughly enjoyable experience.

•      There is amazing, subtle chemistry between Jake and Michelle which really is the star of the film, performances by all the actors are excellent.

Reviewers' opinions:

"Beautiful cinematography that will make Chicago proud."

"An enigmatic ending that brings up more questions than answers but it feels right."

"This film delivers on romance, suspence, mystery and thrills. Highly recomended."

Source Code is a 2011 American science fiction techno-thriller film directed by Duncan Jones, written by Ben Ripley, and starring Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, and Jeffrey Wright. The film had its world premiere on March 11, 2011 at South by Southwest (SXSW), and was released by Summit Entertainment on April 1, in North America and Europe.
Source Code received positive reviews from critics, and grossed over $147 million worldwide.
 

Collateral Analysis

Collateral

 

On January 24, 2004, a cab driver Max Durocher (Jamie Foxx) is a man who is doing the job to earn enough to purchase his own limousine business company, and is currently driving a U.S. Justice Department prosecutor Annie Farrell (Jada Pinkett Smith) to her office where she prepares for a drug indictment case. Even though she wants to tip him for driving safe and fast and being nice, he refuses and tells her to keep the money "to buy herself something special". She takes a liking to Max and gives him her business card.
A businessman named Vincent (Tom Cruise) enters the cab next, giving Max $600 for chauffeuring him to five appointments and wait for him after each appointment. As Max waits at the first stop, Vincent enters an apartment complex and shoots drug dealer Ramón Ayala. Ayala unexpectedly falls out of the window directly onto the cab, forcing Vincent to reveal himself as a hitman. He coerces Max to hide the body in the trunk, clean up the car and continue with their arrangement. However, Max is pulled over by police due to damage from Ayala's impact, but just before the officers can investigate, they are summoned to a higher priority call.
Vincent, concerned about Max, then leaves Max tied to the steering wheel in an alley, as he murders a defense attorney named Sylvester Clarke. Max calls for help from a large group of teenagers passing by, but instead of trying to help him, they take all of his cash and also take Vincent's briefcase but Vincent returns and kills them, much to Max's horror.
Vincent then brings Max to a jazz club to drink with club owner Daniel Baker (Barry Shabaka Henley) after it closes. Max witnesses Vincent execute Baker when he incorrectly answers a question about Miles Davis and suffers a panic attack. Vincent then insists Max visit his mother Ida (Irma P. Hall) in the hospital to avoid breaking routine. He pretends to be Max's colleague and develops a rapport with Ida, which upsets Max, who then runs out with the briefcase and tosses it onto the freeway. With his target list destroyed, Vincent forces Max to meet drug lord Felix Reyes-Torrena (Javier Bardem), threatening to murder Max's mother otherwise. Posing as Vincent, Max meets with Felix and successfully acquires a USB flash drive listing the last two targets. Plugging the flash drive into the cab's computer, Vincent and Max acquire the details of the next target, Korean gangster Peter Lim, who is at a nightclub. Meanwhile, LAPD detective Ray Fanning (Mark Ruffalo) uncovers the connection between the three victims and reports his finding to FBI special agent Frank Pedrosa (Bruce McGill), who identifies the targets as witnesses in a federal grand jury indicting Felix tomorrow. In retaliation, Felix has hired Vincent to kill all five key witnesses. Pedrosa assembles a force to secure witness Lim and converges on the crowded nightclub simultaneously with Vincent, who in turn is being followed by Felix's men. Vincent manages to execute all of Lim's guards, Felix's hitmen and Lim himself, before exiting the club amidst the chaos. Fanning rescues Max and smuggles him outside, but is shot and killed by Vincent, who beckons Max back into the cab.
Following their getaway, the two get into a bitter argument over their lives and Fanning's murder by Vincent. Max openly calls out Vincent for being a sociopath, while Vincent derides Max for being too passive with his life and following his routine. Max finally snaps, refusing to listen at Vincent's orders, and then speeds through the empty streets, daring Vincent to shoot him, and deliberately crashes the cab. Vincent takes off on foot before a policeman arrives at the wreck and notices the corpse in the trunk.
Max spots Annie's profile on the cab computer and realizes she is Vincent's final target. He overpowers the policeman and takes Vincent's gun before running to Annie's building and her office. He tries to phone her using her business card but the signal cuts off, but manages to get into her office and saves her by shooting Vincent, allowing them to escape. Max and Annie board a metro rail train with Vincent in pursuit, cornering them in the train.
Boxed in and left with no other option, Max makes his last stand. Firing blindly as the train lights flicker, Max mortally wounds Vincent in a shootout while emerging unscathed. Vincent slumps into a seat and dies as he repeats an anecdote heard earlier about a man who died on a train and went unnoticed for six hours. Max and Annie then get off at the next station, in the dawn of a new day, with the rampage over.

 
Cast

• Tom Cruise as Vincent, a former special operator and professional hitman hired by middlemen to kill four witnesses and a prosecutor. Russell Crowe was considered for the role.
• Jamie Foxx as Max Durocher, a taxi driver whom Vincent employs to drive him to the locations of the hits. Adam Sandler was considered for the role.
• Jada Pinkett Smith as Annie Farrell, the lawyer prosecuting Felix Reyes-Torrena.

 
Critical Responce
 
The film received positive reviews, with particular praise going to Tom Cruise and Jamie Foxx's performances. On the review aggregator Rotten Tomatoes, 86% of critics gave the film positive reviews, based on 226 reviews. The critical consensus states that "Driven by director Michael Mann's trademark visuals and a lean, villainous performance from Tom Cruise, Collateral is a stylish and compelling noir thriller." On Metacritic, the film had an average score of 71 out of 100, based on 41 reviews. Tom Cruise went on to garner critical acclaim, while Foxx received several award nominations. Richard Roeper placed Collateral as his 10th favorite film of 2004. The film was voted as the 9th best film set in Los Angeles in the last 25 years by a group of Los Angeles Times writers and editors with two criteria: "The movie had to communicate some inherent truth about the L.A. experience, and only one film per director was allowed on the list".

Box Office
 
The film opened on August 6, 2004, in 3,188 theaters in the United States and Canada and grossed approximately $24.7 million on its opening weekend, ranking #1 at the box office. It remained in theaters for 14 weeks and eventually grossed $101,005,703 in the U.S. and Canada. In other countries it grossed a total of $116,758,588 for a total worldwide gross of $217,764,291.
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