Wednesday, 14 December 2016

LO5: Reflection on Script


Have the needs and expectations of the client brief and target audience been met?

For this unit I was asked to write a script, which I did as part of a group for the short film 'False Awakening'. False Awakening is an independent thriller/horror centred around a group of teenagers who go on a camping trip in the local woods. In the woods some mysterious events occur, most notably one member of the group (Dwayne) goes missing and is later presumed dead. The narrative ends when the 'killer' is killed by Stephen and the group realise that it was in fact Dwayne the whole time.The client asked that the script was at least 5 minutes long and included dialogue and diegetic and/or non-diegetic sound - I have met all of these guidelines.

The target audience for this short film were aged between 16 and 25. Because of this it was important that the dialogue stayed relevant to that target audience. The client's feedback showed a particular admiration for the camaraderie between the characters in the script. For example, in this scene (left) Stephen's sarcastic attitude reflects that of a typical young person, I think. 

The script also reflects the lifestyle of our target audience. Camping is a relatively low income thing to do. Our Target Audience fits in to the BC1C2 categories so this is something they would be able to do easily and realistically. This audience is slightly more male proportionally, with a male to female ratio of 60:40; this is also reflected in the script as there are two male characters and just one female character.

One thing which could be viewed negatively is the consumption of drugs. In this particular scene (left), Stephen prioritises drug use over the safety of his friend, which Jess agrees too. I believe our target audience are aware of the stereotypes around them and so would be able to identify with a situation like this. However, our younger target audience could still be influenced by this part of the script.

What were the clients likes and dislikes?

As said before, the client particularly liked the camaraderie between the characters. This helped the dialogue flow and helped make the relationships between the character believable. The Writers' Group also said that they like the very clear change in events; the script begins with equilibrium and ends in disequilibrium. This of course aids the narrative, as it is very clear to the audience which events are taking place and what those events are leading up to. The client did say, however, that though it is clear through camera work who the dominant character is - the distinctions between protagonist and antagonist do need to be clearer. The client also added that more intonation should be added to the script so it is clearer how dialogue should be delivered. 


This feedback was helpful because it helped us as a group decide what works in the script, and what perhaps doesn't work. For example, this scene (left) almost shows Stephen as a villain  because of his sarcastic character. In a way that was intentional, but as the client pointed out it makes it unclear as to who the antagonist really is as Dwayne is shown to have a similar persona earlier on in the script. To correct this I will need to change the dialogue so that Dwayne appears to be less sarcastic and perhaps more ignorant to Jess's feelings.

What relevant changes should be made to the script?

Changes that should be made to script mostly revolve around the way the dialogue is constructed. For the most part I will be changing the vocabulary in the characters dialogue or make additions that help the actor understand how those lines should be delivered. An example of this is in this scene (below). 

In this scene, the characters find (what the audience presumes to be) Dwayne's bloodied torch. Stephen's line is significant here because it shows that he is still not taking these events seriously, but the actor is not given any guidance as to how the line should be delivered.

One thing that The Writers' Group complimented was the realism within the script, so it is important that these lines are delivered the way they are intended to keep that realism in the final short film. Stephen's character is supposed to reflect the sarcasm and wit that is part of the stereotype that surrounds our young adult target audience. Another way to do this, and make the characters more relatable to the target audience, may be to add more regional dialect.
For example, Jess's dialogue here could be given more contractions so that it would read "Why, where'r ya goin'? ". Whilst this would be more relatable to the target audience, if the script is oversaturated with this type of dialogue it sound unintentionally comical.

Is the content of the product correct?

The contents of the product fits the requirement of the brief, the information presented in the script is relevant to the cast and crew who need to read it. The script details most of the information needed on set, including dialogue and camerawork, as well as detailing information needed during post-production such as editing techniques.

My research on existing scripts helped to create this script, and as such our script uses the conventional house style that is used in those scripts also. A courier font has been used and characters are indicated with capitalised lettering. This was a convention of 'My Mother Dreams a Satan's Disciple in New York'- the short film script I analysed. Also, like that script, I included information of the setting and time of day.

Information needed for post-production, such as transitions and sound effects are included in an abbreviated form and justified to the right, as they were in the scripts I analysed previously. 


Does the script meet legal and ethical requirements?

The script does not breach any copyright laws as the original content was created for the film of the same title, which does not take any other source as a basis. Therefore the script's content is solely owned by it's creators, which are the people within my group. Whilst the script does contain strong language, implied drug use and some violence the short film is aimed at people between the ages of 16-25 and therefore meets the standards set by the BBFC (British Board of Film Classification) as shown below and on their website. The music and non-diegetic sound suggested in the script is all sourced through Soundcloud and CC Mixter which both provide Creative Commons music and sounds. Creative Commons music can be used in the final film without breaching any copyright laws.


The script should not cause offence to anyone as it does not contain any form of discrimination. The only thing which I feel could cause offence is the representation of teenagers, however this is justified for the story and that they are fictional characters. The use of drugs and excessive use of bad language means that our film would have to be shown after watershed so that children are unlikely to see the film. The script for our short film is evidently not suitable for young children, but by looking at the BBFC guidelines it would be suitable for the 16-25 target audience and would be a 15 certificate.







Thursday, 29 September 2016

LO3: Meeting Minutes



LO3: Script




















FALSE AWAKENING


Written by
Ellis JH Sullivan
Maddie Fearn
and Lewis Wright
























BLACK SCREEN.

TITLE FLASHES ON SCREEN.

FADE IN:

EXT. A WOODLAND PATH, LITTERED WITH LEAVES - AFTERNOON

TITLE DISAPPEARS OFF SCREEN.

We are shown a woodland path, surrounded by trees and littered with crisp, autumn leaves. Gradually, a trio of campers in their early 20s comes into shot- DWAYNE, JESS and STEPHEN- and we see them pause to look at the map.

DWAYNE
Well we’re too far into it now to turn back.

JESS
I think the map’s the wrong way round.

DWAYNE
No it’s not, we’re going somewhere over there.

STEPHEN
Yeah I forgot you’d done such a good job of directing us so far.

DWAYNE
Look I’ve got it okay? I know where we are now. I thought that we needed to take the road here (pointing towards the map in hand) but it’s actually the one behind us.

As Dwayne speaks the camera focuses behind the three characters, and we see a figure stood by the woods behind them.

So we’re… yeah it’s fine we’re on the right path. Like I said we’re heading for a field over there. Shouldn’t be much longer.

JESS
You’ve said that seven times already.

DWAYNE
I promise you it’s not far. The map literally says just follow this road.

STEPHEN
(Humming) Follow the yellow brick road, follow the yellow brick road.

FADE TO BLACK.
FADE FROM BLACK:
EXT. COUNTRYSIDE – EVENING

DWAYNE, STEPHEN AND JESS are climbing a hill towards the campsite, each carrying different camping equipment and backpacks.

CUT TO:
EXT. COUNTRY FIELD - NIGHT
DWAYNE, STEPHEN AND JESS are sat around campfire making smores. They have set up camp in a field besides a woodland, and behind them their tent is illuminated by the firelight.

DWAYNE
Do you remember the first time we tried to go out camping.

JESS
(laughs) Can’t forget. Believe me I’ve tried.

STEPHEN
What was the name of the place again?

DWAYNE
It was something stupid like (Straightens back and lifts up his hand, extending his pinky in and attempt of mocking stereotypical posh people) The earl of Whitehorn’s estate.

As the group sits there, the camera cuts to a wide shot and it appears as if somebody is watching them through the cover of the woodland, before returning to the original frame.

STEPHEN
Oh god yeah, They were more up their own arse’s than Buckingham palace (He laughs).
DWAYNE
Why did we even go?

JESS
Because of the pool and stuff.
CW: PAN LEFT TO RIGHT
A shadowy figure is seen in the background.

DWAYNE
That pool was brilliant.

STEPHEN
Oh is that why you skinny dipped in it?

DWAYNE
It wasn’t what it looked like.

STEPHEN
In front of the primary school trip?

DWAYNE
For fuck’s sake Stephen, that’s not how it happened.

DWAYNE goes quiet for a few seconds as he notices JESS has begun to look around, puzzled.

DWAYNE (CONT’D)
What?

JESS
Did you guys move my pack into the tent?

STEPHEN
No. Well at least I don’t remember.

DWAYNE
I didn’t.

JESS
Well can you check please because I left it there.

DWAYNE
You check, it’ll just be in the tent.

JESS glares at DWAYNE before standing up and storming towards the tent. STEPHEN raises his eyebrows at DWAYNE.

DWAYNE
What?

STEPHEN
Did you take it?

DWAYNE
What? No! I’d have said.

STEPHEN
Just checking. Do we have more smores?

JESS (OFF SCREEN)
Guys I really don’t think its in here.

STEPHEN
It might be out here, maybe you misplaced it.

JESS
(She exits the tent and returns to the rest of the group) No, I’m pretty sure it was right-

SFX: ANIMAL LIKE SHRIEK

A Loud Noise comes from off-frame sounding vaguely animal like. The character’s spring up in fear.

JESS
Shit, that got me.

STEPHEN
Probably just an animal or something. (pausing then speaking slowly) Should we send someone to look?

STEPHEN and JESS turn to look at DWAYNE, who shrugs awkwardly.

DWAYNE
(Putting on mock bravado) Probably not worth checking out. Jess’ right, sounded like an animal.


STEPHEN
Yeah.

JESS
Maybe an animal ran off with my backpack.

STEPHEN
(scoffs) Yeah I think a badger was eyeing the marshmallows in there earlier. Must’ve decided to take matters into his own hands. (DWAYNE laughs)

JESS
Don’t be an arsehole. It has all my clothes in it.

DWAYNE
Well even if Chip and Dale didn’t make off with your stuff, it might be worth having a look around to see if you dropped it on the way. Or if it like… blew away from camp or something.

JESS
Blew away?

DWAYNE
Yeah.

JESS
(hums then speaks sarcastically) That’s much more likely than an animal, this light breeze might’ve carried it right off.

DWAYNE
Shut up. Let’s go.

DWAYNE and JESS begin to walk away but are stopped by STEPHEN beginning to speak again.

STEPHEN
Wait, shall I just stay here then?

JESS
Well we’ll only be a minute, don’t worry.

JESS and DWAYNE resume walking and STEPHEN is left at the camp by himself.

EXT. THE WOODS - NIGHT

JESS and DWAYNE walk through the woods, side by side and staring intently at the ground to try and spot the missing backpack. The two have their hands pushed deep into their pockets to try and avoid the cold.

DWAYNE
I’m not seeing it.



JESS
Yeah. I swear I had it when we got to camp, I would’ve noticed if I’d lost it on the way here.

DWAYNE
It’s pretty dark, maybe you just couldn’t see it?

JESS
Hm. Maybe.

JESS and DWAYNE continue to walk in silence before DWAYNE begins to slow down.

DWAYNE
Can you just wait here for a second?

JESS
Why, where are you going?

DWAYNE
Need to go… excrete.

JESS
Never mind, didn’t want to know. Go ahead I’ll just stay here.

DWAYNE
I used the most polite term.(He laughs).


SFX: ANIMAL LIKE SHRIEK

JESS turns to face the opposite direction as DWAYNE jogs away further into the woods. He pauses at a tree a little ways off and begins to undo his belt buckle, something appears to shift behind him and a moment later he is started by a loud noise- similar to the one from earlier. Instead he freezes, and looks around slowly. Nothing’s there.

DWAYNE
Did you hear that Jess? (after a few seconds there is no reply so he repeats, a little louder) Jess?
CUT TO BLACK
EXT. THE WOODS – NIGHT

JESS is sat next to the fire, STEPHEN throws some sticks he has gathered beside it.
JESS
(Infuriated)I can’t believe that bastard.

STEPHEN
I can. (He laughs and rubs his hands together for warmth)

JESS
He never takes anything seriously. This weekend was supposed to be just… a break.

STEPHEN sits down beside JESS, he puts a comforting hand on her shoulder.

STEPHEN
You know what he’s like. He’s probably made friends with a squirrel or something.

JESS laughs
STEPHEN (CONT’D)
Actually, I’m not sure a squirrel would tolerate him.

STEPHEN takes an LSD tab out of his pocket and wiggles it in front of JESS, smiling.

JESS
Fuck him.
STEPHEN
Yep. Fuck him.
CUT TO:
CW: OVER-THE-SHOULDER SHOT
‘THE KILLER’ watches STEPHEN & JESS as they take the tabs. They soon begin to lose some control over their motion.
JESS
Remember when we were planning to go to Switzerland?

STEPHEN
Yeah. That didn’t last long.

JESS
Wasn’t Emma coming? What happened to her?

STEPHEN
Yeah. It was weird, she just sort of dropped of the grid.

JESS
I swear the last time I spoke to her was when she got pissy with Nick because of the whole-

SFX: ANIMAL LIKE SHRIEK
JESS (CONT’D)
What was that?

STEPHEN
Why would I know?

JESS
(Shouting) Dwayne?

STEPHEN
Shhh. Don’t yell.

JESS
Why not? (A little louder) Dwayne?

STEPHEN
Jess- just be quiet okay? Look I didn’t tell you because I didn’t want to freak you out but I think… don’t freak out, I think there’s some other campers around here. They’re probably making all the noise.

JESS
You saw other campers?
STEPHEN
Kind of. There was some noise from over there and I thought I saw a figure.

JESS
Stephen, this isn’t a camping site. Nobody else should be camping around here.

STEPHEN
Maybe it was Dwayne?

JESS
He couldn’t have gotten all the way over there… Stephen I swear I can see somebody.

STEPHEN
In the woods?

JESS
There! (pointing) There’s a light.

STEPHEN
I mean… it could be a light.

JESS
(Yelling) Dwayne?

JESS sets off in the direction of the woods.

STEPHEN
Woah woah what are you doing?! (She continues to walk) Jess. Jess! (Begrudgingly, Stephen follows after her)

EXT. THE WOODS - NIGHT

We cut to a close up shot of a torch that has been abandoned on the ground; there’s a little bit of blood splattered across it. JESS picks it up and it cuts to a mid shot of her holding it, STEPHEN steps into frame a few moments later.

JESS
Dwayne?

STEPHEN
Hello other, potentially murderous, campers?

JESS
Stephen there’s actually blood on this.

STEPHEN
(He takes the torch from Jess’s hands and inspects it) Shit.
CW: CLOSE-UP ON JESS
JESS
What do we do?

STEPHEN
(Pausing) I don’t know, there’s no signal to call anyone. Maybe we should go and wait back at the car.

JESS
Stephen that's miles away. What if something’s seriously wrong? We have to stay here in case he comes back.

It appears as if a figure moves away behind Jess.

STEPHEN
Oh my- someone’s there. Jess move back. Hello?

JESS
Stephen there’s nobody there.

STEPHEN
I definitely saw somebody. Lets just go back to the campsite, now. We’ll wait for Dwayne there.

Longshot of JESS and STEPHEN walking briskly away from the woods, constantly checking behind their shoulders.
SFX: SOUND OF MOVEMENT BEHIND THEM

The two begin to sprint towards the camp.

EXT. THE CAMPSITE - NIGHT

JESS
Stephen! Did you move the chairs before you left?

STEPHEN
No? (pause) Okay that’s weird they’ve definitely moved. Has someone been through here?

JESS
Maybe it was Dwayne.

STEPHEN
Why wouldn’t he have just stayed at the campsite? (Panicking) Why does he have to fuck about all the time? This isn’t even funny, why couldn’t he just.

JESS
(Raising her voice slightly) Stephen - I don’t know. I really don’t like this, can we get our stuff and leave? I don’t even mind walking back to the car, at least there’s some signal there.

In the background we see the tent move slightly. Gradually, the front flaps are unzipped by somebody inside.

STEPHEN
What if we see someone on the way back?

JESS
Somebody as in another normal human being or…

STEPHEN
Yeah. The person that attacked Dwayne.

JESS
We don’t know if anyone attacked him.

STEPHEN
Jess there was BLOOD on the torch, do you really want to take any chances?!

A figure’s head pops out of the tent and he slowly stands before beginning to make his way towards JESS and STEPHEN.

JESS
I don’t know! We can’t stay here, we can’t go back, what are we supposed to do?!

STEPHEN
Why are you asking me?! I’m even more freaked out than you are!

JESS
Fuck. (She notices the figure behind STEPHEN) Should we- STEPHEN!
STEPHEN
Frustratedly) Jess I don’t know!

JESS
NO, Stephen, behind you!

STEPHEN turns and also notices the figure. He instinctively picks up a large rock beside the fire and in a split second strikes ‘THE KILLER’ across the face.

JESS is crying now. STEPHEN turns back to JESS, he drops the rock to the floor.

JESS
Stephen. We need,we… Stephen we need to go.

STEPHEN
Jess what’ve I done. Why did you let me do that? Jesus Christ Jess, What’ve we done.

JESS
He was going to kill us!

STEPHEN
No, he wasn’t.

JESS rushes over to the body. She removes THE KILLER’S hood and sees that it is in fact DWAYNE. His forehead is covered in blood. JESS bursts into tears

JESS
Oh my God, Stephen.
CW: ZOOM IN ON STEPHEN

STEPHEN
(Ignoring her) I can’t go to prison. I have a future planned.

JESS (CONT’D)
Stephen, we need to go to the police.

STEPHEN joins JESS next to the body. In the background we see another figure come up over the hill.

MAN
Oh you’re back…

STEPHEN AND JESS LOOK AT EACH THEN BACK AT THE MAN. STEPHEN moves quickly in front of DWAYNE, hiding him.

MAN
I was looking for you. I stumbled across your friend in the forest and brought him back here, he’d injured himself somehow. (He pauses for a second before saying cautiously) Where is he?

STEPHEN and JESS look at the man scared, STEPHEN slowly moves to the side, showing DWAYNE.

          STEPHEN
                  (faintly) Please help us
CAMERA PANS OUT
FADE TO BLACK


THE END