Preliminary Task Evaluation

When planing our thriller we did a script as well as a basic storyboard (in a earlier post) to just highlight the main shots and their respective sound and parts of the script. We also did a filming script to help us further plan the filming. This helped this in the filming because during the planning we had decided on the location of the filming and also the majority of the camera angles to be used. It also helped us on the positioning of the cameras within the space that we were filming in which was quite a small space and it was difficult to frame the shots without getting the other camera in the frame – as we were using two cameras.

During the filming we kept to the 180° rule – the rule in filming that says that you should be always be filming on the same side of the action, whether it be a conversation with in filming or in sports (to give a few examples) – to not confuse the audience on who is talking to who. But we also it was not possible for us to break the rule because of the problems highlighted above – the fact that the space we were filming in was very small and therefore we could only place the cameras on onside of the room without getting the other camera within the frame.

We used a variety of camera angles in the filming, for example for the opening shot we used a worms eye view to give the audience a scene that something bad was going to happen. We also used

a birds eye shot to end the scene with one of the characters walking off after the conversation. However during the conversation we used shot-reverse-shot for on run though of the conversation with my own digital camera and then with one of the schools film cameras and then we tried filming the conversation with both camera – one on one person and the one on the other person – as we thought this would be easer in the edit and produce a smoother end product.

Finally, during the edit we came up with a few problems, to start with the footage from my digital camera wouldn’t work on the editing program (Adobe Premiere Elements 1.0 – though this was probably because that the program is so old) but we managed to get the clips from my camera converted to a format that would work. The next problem was that a lot of the cameras wouldn't work with the software on the school computers so we had to wait for the one or two cameras that did work to become free. So in the end we just used the shot-reverse-shot footage from my camera and edited it into the final product.

Thriller Films That I Have Seen

Eagle Eye - 2008 , D.J. Caruso
Thriller Elements : running from the law, Chases, an unknown entity, unseen threat, featureless landscapes, victims on the run/fugitives, unexplained situation, dark indoor spaces.  













  Se7en - 1995, David Fincher
  Thriller Elements: Psychopathic Serial Killer, Methodical Killing, Pursuit , Wide open spaces, Dark claustrophobic Indoor spaces, unseen threats, conflict.
















The Bourne Trilogy, Doug Liman (The Bourne Identity - 2002) Paul Greengrass (The Bourne Supremacy - 2004- and the Bourne Ultimatum - 2007)  
Thriller Elements: On the Run, Dark Past, Fast paced action, main character trying to escape past, conflict, assassins  














No Country For Old Men - 2007, Ethan & Joel Coen
Thriller Elements: Psychopathic Killer, Pursuit, Cold-blood killing, Dark open and featureless landscapes, dimly lit indoor spaces, innocent victims, escaped criminals, Greed.

Tinker Tailor Soldier Spy - 2011, Thomas Alfredson
Thriller Elements: Moles, Flashbacks, undercover agents, dimly lit rooms, dimly lit interiors, investigation, 

Camera Training ; Still Images

Birds eye shot

Close Shot

Extreme close up 

High Angle

Medium Shot

Low Angle

Over the Shoulder Shot

Tilt Shot

Worms Eye

Long Shot

How Did Tinker Tailor Use New New Tech in the Marketing campaign ?

How Did Tinker Tailor Soldier Spy Use New

By the way - i know there is spelling errors , it is a problem with Scribd and not my Spelling

Pre-lim task story board

Winters Bone - Director: Debra Granik

By PETER TRAVERS (roling stone)

JUNE 3, 2010

Every once in a rare while a movie gets inside your head and heart, rubbing your emotions raw. The remarkable Winter's Bone is just such a movie. Having won the Grand Jury Prize at this year’s Sundance Film Festival, plus the Waldo Salt Screenwriting Award, Winter's Bone faces the challenge of finding an audience in a blizzard of multiplex crap. This story of a dirt-poor Ozark family may just be the antidote to the designer porn of Sex and the City 2. Director Debra Granik has adapted the 2006 novel by Daniel Woodrell into a brutally honest movie about secrets that fester among families in the Missouri backwoods. In the absence of her father, who has put the family shack up as bond for a court date he failed to meet, Ree is now the caregiver for her younger brother and sister and a mother barely standing on the shaky tightrope of her sanity. It falls to Ree to find her father, way over his head in a crystal meth scam involving local characters without an ounce of sympathy. Even her dad's junkie brother, Uncle Teardrop (John Hawkes in a brilliant portrayal of buried tenderness), is scared of going up against the unwritten law of the mountains.

Granik handles this volatile, borderline horrific material with unblinking ferocity and feeling. She did the same with her 2004 debut feature, Down to the Bone, with the great Vera Farmiga as a cocaine-addicted wife and mother. In Lawrence, Granik has found just the right young actress to inhabit Ree. Her performance is more than acting, it's a gathering storm. Lawrence's eyes are a roadmap to what's tearing Ree apart. Her pride won't allow her to cry or beg. "Don't ask for what should be offered," she tells her siblings. Winter's Bone is unforgettable. It means to shake you, and does.