Video Evaluation

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Animatics

Garageband soundtrack

To get this sound track we mixed a lot of different sounds together from titles such as: jingles, beats, percussion, fx, syn bass and textures. We used alot of different sound types such as ambient sounds, base sounds, atmospheric and city type songs. This soundtrack is used when the victim is walking out the college and through the car park and the killer is watching him.

Rough Cut Feedback

For our rough cut there are many things which we are pleased with and other things still need working on. The positives from the rough cut include: use of different camera shots, effects and soundtrack made from garageband relates to a horror film. Some mistakes include: tripod in camera shot, lighting is too dark and some effects don't match the film. We also need to improve on the beginning of our film e.g. instead of scripting the story use flashbacks to get the story across to viewers.

To improve our film we also need to add scenes such as at the end were the person gets killed, for that scene we need to add different sounds to make the killing seem more realistic and effective for the viewers. Their is also a scene near the end of the clip were the blood splatters on the trees and on the floor, we need to crop this scene because you can see the tomato ketchup bottle from were the fake blood comes from. Even though the sound is effective throughout the film in some parts it is too loud e.g. were the victim is walking out the college and through the car park.

At the end of the clip we are also going to add a scene of the dead body were e is just left to die and he will be covered in fake blood.

Rough Cut

Shooting Schedule

DATE	SCENE NO	D/N	INT/EXT	LOCATION NAME/ ONE LINE DESCRIPTION	CAST
22/02/10	1	N	INT	DARK ROOM – JIMMY GIRO OBSERVES PHOTOS	JIMMY - KEVIN MCCAMMON/JON WRAY
24/02/10	2	D	INT	COLLEGE ATRIUM – FREDDY TALKING TO FRIEND	JIMMY – KEVIN MCCAMMON/JON WRAY FREDDY – TBC FRIEND - TBC
25/02/10	3	D	EXT	COLLEGE GROUNDS/BURN VALLEY – FREDDY WALKING HOME	JIMMY - KEVIN MCCAMMON/JON WRAY FREDDY -TBC
26/02/10	3	D	EXT	COLLEGE GROUNDS/BURN VALLY – 2NDSHOOTING	JIMMY – KEVIN MCCAMMON/JON WRAY FREDDY - TBC

Actors, locations, props and costumes

Actors

Jimmy Giro - Jonathan Wray & Kevin McCammon
Freddy McDoodle - TBC
Freddy's friend - TBC

Locations

Hartlepool 6th Form College atrium
Burn Valley Gardens

Props
Photographs of 10 people
Plastic Knife
Tomato Ketchup
MP3 Player
Files

Costumes
Scream Outfit and Mask

Script- Dead Man Walking- The Jimmy Giro story

SCRIPT - DEAD MEN WALKING THE JIMMY GIRO STORY

BY JONATHAN WRAY AND KEVIN MCCAMMON

INT – DARK ROOM

A man sits in the middle of a dark room looking at 10 pictures of 10 men. Audience assume it is Jimmy observing his victims. A slideshow then shows the 10 photos. Blood is covered over the first 3 photos and Jimmy’s eyes are fixed on the 4^th photo. Flashbacks are then shown of the first 3 killings which he executed on his victims. The camera then fades away from the 4^thphoto as Jimmy whispers the persons name in the photograph, Freddy McDoodle.

INT – HARTLEPOOL 6^th FORM COLLEGE – EARLY TUESDAY AFTERNOON

A late male teen is having a conversation and working with a fellow classmate in an almost empty college atrium. Audience can see that the teen is the 4^thvictim on the photograph Jimmy was observing, Freddy.

FREDDY

I can’t be bothered with this man, got too much stuff on me mind with Johnny, Jamie and Kurt missing.

FREDDY’S FRIEND

Oh yeah I heard about that, when did they go missing like?

FREDDY

Since Saturday, I was with them on Friday with 6 of the other lads.

FREDDY’S FRIEND

Out of it like?

FREDDY

Too right haha

In the background of the conversation, Jimmy can be seen in the trees outside the atrium staring at the teen in his comical Scream outfit. Freddy then ends the conversation with his fellow classmate and decides to head off home.

FREDDY

Right mate, I’m off home, cant be bothered with this work

Jimmy looks on then disappears into the trees.

EXT – HARTLEPOOL 6^th FORM COLLEGE/BURN VALLEY

Freddy is walking out of the atrium and continues through the car park to the entrance of Burn Valley. POV shots are used to show that Jimmy is following him. Jimmy looks at the photograph of him one last time. Different shots are used ranging from Tracking shots and long to close up shots when Freddy is walking through the Burn Valley. Freddy has MP3 player headphones on, so he is unaware of the enviroment. When Freddy realizes he needs the toilet, he heads off into the trees for privacy. Jimmy then sneaks up behind him and breaks his leg with a large stick. Freddy then starts to scream in pain.

JIMMY

Yeah! Squeal! Squeal like my brother did! Squeal like a piggy!

FREDDY

WHO THE HELL ARE YOU? HELP!

JIMMY

Time to shut the little piggy up!

Jimmy then slices Freddy’s throat, and wipes the blood off his knife with the photo of Freddy, representing his death. Jimmy then looks at the other photos of the remaining 6 victims.

Synopsis

Me and Jonathan Wray are going to create a slasher-horror aimed for audiences aged 18+. The storyline of the short scene is about the murder of a murderer. The backstory is about a man who is out for revenge on 10 men who tortured and killed his younger brother for not telling them were their drug money is which he found. The man then loses his mind when he loses the last member of his family and then vows to hunt down these 10 killers. He has murdered the first 3, and this scene we are creating shows how he kills the 4th, a student at Hartlepool 6th form college. The man dresses up as the popular horror character Scream, but using the tongue version of the mask which belonged to the younger brother.

We will be using dialogue and different camera techniques to liven the scene up a bit. Incidental music will also be used to build up suspense. We are adding parts of the backstory to the scene such as a flashback of the previous killings.

Mind map of initial idea

research into target audience

For our project, we are making a short horror clip aimed at audiences 18 & over. The sub genre we are aiming at is a slasher-horror, a typical kind of sub genre which can represent horror as a whole. With very successful slasher-horror franchises like Scream and Halloween, an 18+ rating is essential as these films contain strong bloody violence and strong language. Even some slashers contain sadistic violence which can even disturb the most fearless mature audiences. More popular slasher-horrors contain iconic characters, such as Leatherface and Michael Myers, which attract audiences due to how famous the villians are and how they kill their victims.

Here is a table of the Top 10 most grossed films in slasher-horror;

Rank	Title (click to view)	Studio	Lifetime Gross /Theaters		Opening / Theaters		Date
1	Scream	Dim.	$103,046,663	1,994	$6,354,586	1,413	12/20/96
2	Scream 2	Dim.	$101,363,301	2,688	$32,926,342	2,663	12/12/97
3	Scream 3	Dim.	$89,143,175	3,467	$34,713,342	3,467	2/4/00
4	Freddy Vs. Jason	NL	$82,622,655	3,014	$36,428,066	3,014	8/15/03
5	The Texas Chainsaw Massacre	NL	$80,571,655	3,018	$28,094,014	3,016	10/17/03
6	I Know What You Did Last Summer	Sony	$72,586,134	2,524	$15,818,645	2,524	10/17/97
7	Friday the 13th (2009)	WB (NL)	$65,002,019	3,105	$40,570,365	3,105	2/13/09
8	Halloween (2007)	MGM/W	$58,272,029	3,475	$26,362,367	3,472	8/31/07
9	Halloween: H20	Dim.	$55,041,738	2,669	$16,187,724	2,607	8/7/98
10	My Bloody Valentine 3-D	LGF	$51,545,952	2,534	$21,241,456	2,534	1/16/09

The table shows that the Scream franchise dominates the Top 3 spots in its lifetime gross, making it the most famous slasher-horror in the sub-genres history.

Research into genre

The Gothic Tradition

The term 'horror' first comes into play with Horace Walpole's 1764 novel, The Castle of Otranto, full of supernatural shocks and mysterious melodrama. Although rather a stilted tale, it started a craze, spawning many imitators in what we today call the gothic mode of writing. Better writers than Walpole, such as Ann Radcliffe (The Mysteries of Udolpho) and Matthew Gregory Lewis (The Monk) took the form to new heights of thrills and suspense. For half a century, gothic novels reigned supreme. As the Age of Enlightenment gave way to the new thinking of the early nineteenth century, Romantic poets of the stature of Coleridge (The Rime of the Ancient Mariner, Christabel) and Goethe (The Erlking) reflected the strong emotions of the movement through a glass darkly, recognising that fear and awe aren't so very different sensations. The first great horror classic (Frankenstein 1818) was written by a Romantic at the heart of the movement - Mary Shelley.

Nineteenth Century Masters

Some of the greatest mid- nineteenth century novelists (on both sides of the Atlantic) tried their hand at horror fiction, paying tribute to the dying traditions of the gothic. Emily Bronte steeped her magnus opus, Wuthering Heights in gothic situations and sensibilities while Dickens wrote a number of ghost stories (the best perhaps being The Signalman, the best known A Christmas Carol). Herman Melville incorporated many supernatural elements intoMoby Dick, as did Nathaniel Hawthorne with The Scarlet Letter and The House of the Seven Gables. As the century advanced, many writers turned to the short story or novella form to spook their readers - J S Le Fanu, Sir Arthur Conan Doyle, Wilkie Collins, Robert Louis Stevenson and of course, Edgar Allen Poe.

Edgar Allan Poe

Reviled for many years as an alcoholic hack, Poe is now gaining his rightful place in the literary canon; his terse yet suggestive prose style carries him through several volumes of startlingly original short stories and some heartbreaking poetry. He is credited with inventing the modern detective story (The Murders in the Rue Morgue -1841) and with being the first writer to explore psychoanalysis within a literary format. The funereal landscapes and grotesque characters he wove into his stories have become staple tropes of the horror genre. Reading him now, it is hard to imagine how innovative and creative his work was in the 1830s and 1840s. Sadly, he was ahead of his time, and struggled his whole life with poverty and lack of recognition. Much ink has been expended on the mysterious circumstances of his death - he was found badly beaten and raving in Baltimore, and died in hospital before recovering his faculties.

The End Of The Century

As a Viennese academic called Sigmund Freud was beginning his explorations into the recesses of the human consciousness, literature too took on a more psychological bent, with many writers trading freely in madness (building on the work of Poe), and the horror that lies beyond the boundary we call sanity. These stories deal not with events, but with the slow unraveling of minds; the reader is left to decide whether the causes are supernatural or psychological. Henry James played with the mind of a nanny in The Turn of The Screw in 1898, while Charlotte Perkins Gilman weaves a diatribe against patriarchy ('You see, he does not believe I am sick!") Into The Yellow Wallpaper (1899). And of course Bram Stoker's Dracula (1897) spiced up the psychological with the sexual, creating an anti-hero in the Count whose appeal shows no sign of diminishing over a century later. H G Wells developed the concept speculative fiction further with his science themed novels The Island of Dr Moreau, The Invisible Man, The Time Machine andWar of The Worlds, all of which utilize elements of horror as well as fantasy.

And then came the Great War, and with it horrors that not one of these literary minds could have conceived

The First Horror Movies

Silent film offered the early pioneers a wonderful medium in which to examine terror. Early horror films are surreal, dark pieces, owing their visual appearance to the expressionist painters and their narrative style to the stories played out by the Grand Guignol Theatre Company. Darkness and shadows, such important features of modern horror, were impossible to show on the film stock available at the time, so the sequences, for example in Nosferatu, where we see a vampire leaping amongst gravestones in what appears to be broad daylight, seem doubly surreal to us now. Nonetheless, these early entries to the genre established many of the codes and conventions still identifiable today. They draw upon the folklore and legends of Europe, and render monsters into physical form. Sadly, the fragility of early film stock means that many of these early attempts at horror have been lost to us, but these three classics are currently available on DVD.

The Golem (1915/1920)

There were several versions of this, dubbed 'the first monster movie'. Paul Wegener directed and starred in the screen version of the Jewish legend, set in medieval Prague. A Golem (a solidly built clay man) is fashioned to save the ghetto, but when his job is done he refuses to cease existing, and runs amok through expressionist sets, eventually to be confronted and defeated by a little girl. The legend influenced Mary Shelley during her creation of a monster a century earlier, and a decade or so later, the cinematic golem influenced Whale's and Karloff's depiction of a false creation lumbering menacingly through the streets.

The Cabinet Of Dr Caligari (1919)

Often cited as the 'granddaddy of all horror films', this is an eerie exploration of the mind of a madman, pitting an evil doctor against a hero falsely incarcerated in a lunatic asylum. Through a clever framing device the audience is never quite clear on who is mad and who is sane, and viewing the film's skewed take on reality is a disturbing experience, heightened by the jagged asymmetry of the mise en scene. Although modern viewers might find the pace slow, with long takes and little cutting between scenes, "The Cabinet..." is stylish, imaginative, and never less than haunting.

This is largely because the diegetic world is wholly artificial, a complete re-imagining of a Northern German town. The audience views the tale throught the twisted vision of the narrator, where roads, hills, houses and even trees take on a menacing new shape. This is not reality, and the stylised performances reflect that, with the players moving as symbols through the surreal landscape, their stark make up adding to the dreamlike sensation. This contrasted dramatically with the documentary style of film making prevalent in Europe at the time, and proved that film could be a poetic, stylised medium as well as a reflective one. Much has been written on the politics of The Cabinet..., representing as it does puppet humans controlled by a sadistic madman. It certainly struck a chord with German audiences of the time, suffering as they were from the economic consequences of war reparations, helpless in the face of spiralling inflation.

A 1996 reissue, complete with art deco titles, makes perfect sense of a film that has had a profound influence on subsequent horror.

Nosferatu (1922)

Nosferatu is the very first vampire movie, baldly plagiarising the Dracula story to present Count Orlok, the grotesquely made-up 'Max Schreck', curling his long fingernails round the limbs of a series of hapless victims. Described as the vampire movie that actually believes in vampires,Nosferatu gives us a far more frightening bloodsucker than any of its successors; Shreck is simply inhuman. Murnau demonstrated an early mastery over light and shadow which was to distinguish his subsequent work in Hollywood, such as Sunrise (1927), as well as sheer inventiveness with the photographic image, in the microscope sequences and the stop motion special effects. He also clashed with Bram Stoker's widow over the rights to the Dracula story, which had proved very popular as a stageplay. He changed the names of the central characters, but did not alter the story, and the subsequent legal wrangling meant that prints of the movie were destroyed, Murnau lost control of the film, and it is only recently that a version approximating to the original has become available to the viewing public.