Permission

It is essential to gain permission from our actors to be involved in the production as they have to give consent for their performances to be seen by many people. We gave each of our cast members a letter we created so that we could have their agreeance in writing.

Shot List

SCENE 1 – Eleni asleep in her bed

1. Long shot of Eleni lying in bed, her mum walks into the shot
2. Medium-close-up of her mother kissing her forehead
3. Close-up of the mum leaving and turning off the light in her room
4. A upward panning shot from Eleni asleep in bed up to a picture on her wall saying ‘sweet dreams’

SCENE 2 – Eleni tossing and turning in bed

5. Long-shot from the side of the bed of Eleni tossing a turning in bed – suggesting she’s having a nightmare

SCENE 3 – The nightmare

6. Cut to a different scene – where Layla is rocking back and forth on a chair laughing. This is a sustained long-shot where the audience presumes it’s the nightmare that Eleni is having

SCENE 4 – Rosie wakes up from her nightmare

7. Long-shot of Eleni in bed – her mum runs in after hearing her cry
8. Close-up of the two having the conversation to see if she is okay
9. Cut back to the longshot as Eleni expresses that Layla is ‘behind’ her mum
10. From the longshot we pan across the room to see that the scary woman is behind her

SCENE 5 – Photograph of mum and daughter

11. Close-up of someone holding a framed photo of the mother and her daughter
12. Cut to long-shot exposing that it is Rosie holding the photo – but many years later. This creates the link between the change in time

SCENE 6 – Rosie teaching in a classroom

13. Longshot of Rosie teaching in a classroom telling her students to be quiet
14. Cut to medium-close-up of her speech
15. Match on action with her turning around to write something on the board, from a closer angle

SCENE 7 – Rosie hears strange noises behind the door

16. Longshot of Rosie going about her day to day activities
17. Sustained shot as she hears a strange noise
18. Tracking shot as she walks towards the door from where she hears the sounds
19. Close-up of her looking through the keyhole
20. Long-shot of what we expect that she sees through the keyhole
21. Cut back to close-up of her eye through the keyhole as she begins to walk back. Sustained shot as we see Layla behind her

SCENE 8 –Alleyway

22. Hand-held tracking shot of Rosie running down an alleyway - sustained shot to show she’s scared and running away from something

SCENE 9 – Balcony

23. Low angled shot of Layla walking on the balcony – to suggest her power and authority.
24. Sustained shot as she stops walking and faces the direction of the camera

SCENE 10 – Balcony

25. Cut to shot of Layla from behind – we are aware it’s her as it’s the same location. Sustained shot as Rosie walks in front of her without being aware she is being watched

SCENE 11 – Rosie and her boyfriend

26. Longshot of Rosie and her boyfriend stood there with dialogue.
27. Cut to behind shot of Rosie as she reaches out to hug her boyfriend

SCENE 12 – Rosie in bed

28. Rosie is lay in bed crying, angle shot from above
29. Cut to match on action as she turns round crying and hits the pillow

SCENE 13 – Dog begins to bark

30. Long shot of the dog barking at the window leading to the conservatory
31. Cut to longshot of Rosie questioning this
32. Longshot from a different angle as a tracking shot of her walking towards to dogs
33. Cut to angle of behind Rosie as she approaches the window
34. Close-up of her face as she sees Layla – so we see the emotion she is feelings

SCENE 14 – ‘Leave me alone’

35. Medium-close up of Rosie from behind as she runs down the stairs
36. Match on action as we carry on the movement from a different angle
37. Long-shot as she runs across the landing towards a set of double doors – presumably her room
38. Close-up of her face as she slams the doors and suggests ‘Leave me alone’

SCENE 15 – Car Scene

39. Tracking shot following a car down a lane – Rosie and her boyfriend
40. Cut to shot of them inside the car, medium long shot of them being happy and singing along to the music 41. Close-up on Rosie as she tilts her head from looking down to upwards and of her screaming
42. Cut to shot of her boyfriend slamming on his breaks asking what is up
43. Cut back to close-up of Rosie crying as she can’t get her words out
44. Cut to outside the car, longshot of Layla stood in front of the car
45. Close-up of Layla’s hand – holding a knife.

Storyboard

We have created a storyboard for our film trailer production as part of our planning. It involved drawing each shot into boxes with a short sentence explaining what is happening in each. It allows the director a better visual perspective of what each shot will look like before filming. It also allows us to develop a better understanding of how the shots will flow from one to another and what types of shots will be used throughout. We will use it as a visual aid during filming sessions.

3-12-14 Call Sheet

Call Sheet 3.12.14

30-11-14 Call Sheet

Call Sheet 30.11.14

12-11-14 Call Sheet

5-11-14 Call Sheet

A call sheet is a document that combines all the relevant information needed for the crew to get through a shoot. We created call sheets before each day of filming including information about dates, times, breaks, nearest hospitals (in case anything were to go wrong), scenes to shoot, cast on set, locations and more.

Risk Assessments and Location Recce

Hair and Make Up

• EVYLYN CRICK

As the main evil character in our production is supposed to scare the audience, we researched into how we could effectively achieve this. When looking at techniques to make a woman appear we found a common method was to use a white face with dark eyes.

We adapted these ideas into our own creation producing a look that we were thoroughly pleased with. We use plain flour to make her face look pale and a simple black eye shadow over her eyes. We also used the eye shadow on other areas of the face to give her a dirty appearance. For her hair we separated her fringe into stands and use hairspray to put them into place, then letting hem dangle over her face. Here is the final look:

• ROSIE

For Rosie's character look we decided to just keep her hair and make up as she has it normally. We chose her in the beginning die to her natural looking appearance so felt it was suitable to keep her the way she was when she came to film.

• YOUNG ROSIE

Like with the older version of Rosie, we didn't use make up as she was playing a small child at bed time. Also when she turned up to film her hair was just as it would look before going to sleep and so we didn't do a lot to change her appearance.

Costumes

EVYLYN CRICK

From the beginning of planning we wanted her to be portrayed as a scary and dangerous old women. We achieved this by dressing her in a traditional white night gown which belonged to my grandma. She wore no shoes to make her appear unclean and strange. This scruffiness creates suggestions that she has come back from the dead to haunt.

ROSIE (YOUNG)

We chose to have her wearing a pink children's night dress as during her scenes she was supposed to be sleeping in bed. Her outfit isn't really on show in any of the shots so this was quite a simple decision for us to make. The pink connotes innocence and emphasised the fact that she is a young girl so it is clear to the audience.

ROSIE (OLDER)

Due to the fact this character was a teacher, we decided to have her wearing a smart outfit consisting of a smart shirt and trousers in the classroom scene as this made her look older and more professional. In another scene where she is lying on the sofa, she wears a jumper to show that she is relaxing at home. Similarly in the shots where she is running down the stairs in fear we had her wear a baggy shirt with leggings as she is just supposed to be at home and not working.

Props

• Bed with pink covers to represent the innocence of a young child as she wakes up from a terrifying nightmare.
  

• 'Sweet Dreams' wording over the top of the child's bed was used to subtly hint at the main story which is strongly influences by her nightmares.

• We used a whiteboard and marker pen in order to highlight the idea that Rosie was a teacher. We chose to show her at work to represent that she is just a normal woman who experiences a normal everyday lifestyle. This gives the audience a sense of security.
  
• In the scene where Rosie is woken up by a loud bang she is lay on a sofa with a table and wine glass in front of her. The glass shows that she is at home relaxing and again connotes the idea that she has a very normal life.
  
• We lit a candle in the foreground of a shot with Evylyn walking behind. This added a sense of mystery and eeriness to the scene. The mirror next to the candle shows Evylyn walking slowly in the background. When researching, we found the use of reflections to be extremely effective in the horror genre to make the viewers feel on edge and scared.
  
• One of the most useful and effective props we used in the trailer was the sharp knife that Evylyn carried. The sharp objects connotes violence and fear throughout in order to create an unsettling experience fore viewers.
  

Scrip FINAL DRAFT

SOMNIUM Final Draft

Script 2nd Draft

SOMNIUM 2nd Draft