Planning: Mise-en-scene

Mise-en-scene is a French term that simply defines 'put in the scene'. This term covers the main elements of symbolic codes like costumer, make-up, setting and props. By attaching symbolic values to these certain items, we'll have our audiences make assumptions or impressions about those codes.


Evangeline will have smudged make-up on her face – what is known as ‘mascara tears’ – this will show the emotional turmoil she's gone through.


We will also have blood of her victims from previous crimes smeared on her face to show clearly what she has done and that it was her that did it. As well as blood splattered onto her white dress, which will represent her corrupted innocence.


Her hair will be messed up and big, showing how she’s gone feral.


For the clothing, we came to a conclusion of a white dress because it will represent her innocence – or lack of - but will also allow the red of blood stand out against the white. We also decided for Evangeline to be barefoot because it gives her the look of someone wild and out of control.


We came to a decision of using a meat cleaver, discarded and covered in blood. We think that it's relatively a messy but traditional weapon for the killers in common horror movies, and we also thought that using such a close contact weapon, Evangeline would get he pleasure of the blood – the lifeline – of a person running down her arms, allowing her to feel it, makes it more personal.


By showing old photos of her previous families will give brief ideas of the range of types of families Evangeline has experienced in the past. The photos will progress from very old photos to more modern ones as the opening titles go on to give a brief timeline to the audience. Along will these there will be features of newspapers consisting of articles mentioning some of the families' mysterious deaths. There will be blood splattered across the top of the newspaper.


To further support the fact that Evangeline is possessed by a demon, we thought of featuring symbols related to the devil, like a devil's trap or a demon sigil - these will be painted on wallpaper and put onto a wall - to represent possession and give the audience clues of Evangeline's current condition and relationships with evil.


Planning: Casting


This is Evie Brudenall, she is 16 - making her the right age to play Evangeline. Evie is a great actor and does drama for A-level. However, she will not be able to film when we need her and couldn't get to where we need to film. Because of this she will not be cast as Evangeline.


This is Amy Boyce, she is 16 - making her the right age to play Evangeline. Amy is a good actor and is perfect for our character of Evangeline. She also will be able to film whenever and will be able to get to where we are filming, therefore making her perfect for the part of Evangeline.



This is Nicole Storey, she is also 16 - also making her her the right age to play Evangeline. Nicole does A-level drama. However, she won't be able to play the part of Evangeline as she's to busy to be able to film and wouldn't have a way to get to where we're going to film.


As a group we have decided to cast Amy to play the part of Evangeline as she seemed the most suitable and easy to work with, as she'll be able to film nearly anytime and anywhere, as she hasn't got a busy schedule. This will make it easier for us as a group to finish filming quickly and efficiently.

Planning: Location

I think that it's a good way of visualising the story board if you take photos of your planned location. With the shots of our location, we have a brief understanding of how our video will look like as a result.

When deciding on the best place to do our shooting, we looked at what settings are possible because having that sorted out before filming saves us time and avoids all the fuss.








In the end, we came to a conclusion of doing our filming at a shed because it meets most of our expectations. First off, it is a dark area, which will allow us to play around with light and shadows. We think this is a very great advantage for our opening titles since it's in a dark atmosphere with little hints of light. We can also use our own source of light, like a torch, where we have full control over.















Additionally, it's an unusual (and unlikely) place for a child to hang around with the dangers lurking around every corner, and we thought it'd be a great place for shooting Evangeline within the setting because it will go well with how wrecked Evangeline is. I believe that the mess in the shed could've been expanded from within her to her surroundings.

Planning: Storyboard





For our pre-production, John and I created a storyboard to show as much detail as possible like camera instructions and details of camera movement. We managed to include some scene duration and details of text like their placement. We think that by observing each shot in a panel helps us visualise our opening titles easier. 

Although I believe we could have included further detail for each scene like the current location of the shot and the duration of how long the scene will stay on the screen. Also, we could have included details on sound used in each scene. 

I think that in certain areas we managed to explain, or at least attempt to visualise a transition between two scenes, but to really go into detail we could have done a transition for each scene. 

Planning: Screenplay

'CHRISTO'

by

Agne Jurkenaite, John Panther and Rebecca Brown

14th December 2013


FADE IN

Monochrome photograph, family, burning. Black background, only colour is that of the fire.
TITLE: DIRECTED BY... (White font, sharp, flickering, blurred.)

LATIN EXORCISM BEGINS PLAYING IN THE BACKGROUND

Panning shot of newspapers being thrown onto bench, blood splatters on few, begins slowly and the pace picks up. Evangeline will be on every article, camera tracks closer to the image of her face, close up showing emotion in her eyes.

Between this, meat cleaver, flickers when a new paper has been threw, blood stained and rusted slightly.
PRODUCED BY...

Transitions become faster, build of tension, from picture-video-picture-video etc.

Goes back to the fire and we see more burning.

QUICK SHOT OF EVANGELINE HUNCHED IN A DARK CORNER.

Possessed; black and white, monochrome. Brief and then slips away.

Pentagram of a devil's trap is seen, painted in red, blood. Only piece of colour.
PAINTBRUSH IS CONSTANTLY MOVING<GLIMPSES OF A HAND IN CONTROL OF OBJECT
EXECUTIVE PRODUCER...

Arm in pool of blood, only colour is red. Flickers so we get brief shot. Close-up.

Back to the burning photo before it switches to a dark, empty park with a swing. Creaking and moving slightly.
COSTUME DESIGN...

Back to newspapers. More thrown down.
EVANGELINE GETTING EVER CLOSER, NO FACE SEEN.

Wall with blood splat.

Burning photographs. More added to fire. Close-up on the child in the final photo.
MUSIC BY...

EVANGELINE APPEARS. STILL NO FACE.
Instant flash to a demon sigil with a hand in a pool of blood.

EVANGELINE. BLOOD MOUTH, DILATED PUPILS<CLOSE UP. SCREAMING.

FADE TO BLACK

'CHRISTO'


END