Opening Scene Narration - Miss Miller

For our final narrative, both Kate and I used our individual storyboards and created one group storyboard that we were both happy with. We took ideas from each individual storyboard to incorporate into the final narrative that we believed to be the most conventional to the thriller genre as well as being the most successful in creating the crucial elements of surprise, shock, tension and suspense. We ensured that we used an equal amount of each other's ideas so as to make it fair and unbiased as well as changing some things to make sure our thriller sequence will be as successful as it can be and would be able to thrill our audience the most.

Our sequence will begin with a combination of both a POV shot and canted angle to show the hit man character slowly waking up from his unconscious state. The POV shot will be the first camera technique used within the sequence and we will aim to have this in and out of focus to represent the character waking up slowly and being confused. The canted angle will then be used to represent an element of disorientation as well as confusion. The use of iconography of the rope will be used to tie the hit man/hostage up as well as the masking tape covering his mouth. These camera shots work well together in order to set the scene of the entire sequence. We will also aim to include non diegetic sound of sinister music as well as the use of the editing style of flashes when the opening credits are being shown therefore an individual credit will be shown with the addition of a flash of an image of the hostage being tied up and slowly waking up etc. I think this will be effective within the sequence as it ensures that not too much of the narrative is revealed straight away. Low key lighting will be evident in the opening scene where we will include some flood lights to illuminate the hostage. The use of low key lighting within the unknown location at the beginning keeps the location hidden and it is unsure whether or not the hostage is alone or if his kidnapper is lurking somewhere.

Within the next frame, we also decided that two camera techniques should be used so we are able to use a variety of camera shots and not repeat the same techniques over and over again which would therefore make our thriller less exciting and would be something that the audience would not enjoy as much. The first technique we would be using within this frame is handheld which can be used to produce unsteady and jerky movements to represent elements of confusion and disorientation as well as providing a dramatic feel to the particular shot. Although this would be effective in our piece, it could also be unconventional as any unnecessary camera shakes could be evident therefore I will discuss with this with my partner and possibly take this camera technique out of the sequence and in particular this frame. A high angle shot will also be used within this frame to portray the hit man as weak and inferior due to being kidnapped and held hostage. The non diegetic sound of sinister music will be evident in this frame which will be gradually built in volume. The editing technique of flashes will also be continued within this frame so as to pass the pace of the scene.  Low key lighting will be present again within this frame to represent evil as well as keeping the location's identity hidden.

In the third frame, a close up will be used to highlight the confusion on the hit man/hostage's face. He will be portrayed as being completely clueless in order to show a true representation of an amnesiac. This close up will be the main clue to connote that he has developed amnesia and is no longer aware of who he is as a person as well as where he is and who had kidnapped him. We will aim to have the character's facial expressions showing fear, confusion and complete lack of awareness. Again, the low key lighting will be used to ensure the location is not identified until the very last moment. At this point within the sequence, the non diegetic sinister music will be at the peak of its volume.

The fourth frame captures the moment in which the antagonist walks in and addresses his hostage. We will use POV from the hostage's perspective in order to capture the exact moment in which the antagonist enters the room.The  first use of iconography within the opening will be an envelope in which ints contents will be revealed in the next frame. Within this frame, the flashes will be continued until the fifth frame which will signify the end of the opening credits. Again, low key lighting will be featured to hide what or more importantly who could be lurking which it becomes clear that the antagonist has been waiting to appear. The sinister music will have reached its crescendo at this point due to the reveal of the antagonist. Although the character as well as the audience are still unsure of his identity, they are now clear of who has kidnapped the hit man/hostage and events unfolding up until this point will be explained in the next few frames.

In the fifth frame, the audience will witness the antagonist explaining exactly what he wants his accomplice to do as well as what his reward will be. This frame will be the first in which speech will be used and it is made clear that the antagonist wants this hostage to kill his cheating wife. Although speech will be evident, we have decided to include sinister music again but at a low volume. The iconography of the envelope is revealed in this frame as the antagonist will be seen to open the envelope showing the large amount of money he is offering for the hit man to kill his wife as well as containing some photographs of her so that the hit man knows exactly who to kill due to having amnesia. An editing style of a straight cut will be used to maintain continuity throughout the sequence.

Moving onto the next frame, the hit man is seen to be paid by the antagonist as well as being shown the photographs in  more detail ensuring that he knows to kill this woman before agreeing with no hesitation to kill her. This situation will be shown with an over the shoulder shot of the antagonist so as to keep his identity hidden as well as capturing the reaction of the hit man/hostage to his demands. Although it is not a close up, menacing facial expressions will still be seen on the hit man's face to show how he has been manipulated by the antagonist to something that is completely psychotic. Silence will be used in this scene for dramatic effect. The editing technique of shot reverse shot will be used to represent the occurrence of a conversation taking place switching between the hit man and antagonist and especially capturing the hit man when he agrees to carrying out the murder.

The seventh frame will demonstrate the antagonist being asked by the hit man how he is supposed to get hold of weapons to murder the wife in which his antagonist replies to this by looking at him closely and smiling menacingly. Speech will again be used however it will be used in a smaller section of dialogue due to only featuring the simple question of how the hit man is supposed to get his hands on particular weapons to murder the antagonist's wife. A mid shot will be used in order to capture the hit man's facial expressions and also showing some of his body language.

Following on from this, the next frame will feature the exchange of the murder weapon, house keys and the address of where the hit man needs to go. The iconography will be a knife, the house keys and house address written on a note. This will be achieved by the use of shallow focus to place emphasis on the objects being exchanged which will be supported by a jump cut to direct attention onto what is happening in this particular frame connoting a significance to the narrative.

In the ninth frame, a long shot will be used to show the hit man leaving the unknown location and attempting to gather his bearings on his way to murder the antagonist's wife. Again, the use of non diegetic sound being sinister music will be played over this image and the hit man will now have on his person; the envelope containing the money and photographs, house keys, address and knife. As this frame will be shot outside, the lighting will still remain low key but will be more natural showing a more realistic scene and change of setting.

The camera will then zoom in and change into a mid shot in the tenth frame which shows the hit man giving up on being able to gather his surroundings on his own and he reaches into his pocket and takes out his phone. Non diegetic sounds of distant screaming will be edited into this frame and the iconography will be identical to the previous frame but with the addition of the mobile phone.

This camera technique will zoom in even further into a close up shot where the hit man is seen to dial a number and make a call to a taxi company to take him to the murder location. Silence will be the main sound technique evident within this frame with the inclusion of speech of the hit man talking on the phone.  Also, the lighting will be kept low key and dark with the exclusion of the street lights providing as filler lights.

The twelfth frame marks the halfway point of our opening sequence. Within this, the hit man will be seen walking up to the house. The iconography of the keys will be shown as the character will be holding them in his hand preparing to put them into the lock of the front door. Non diegetic sound will again be used through the example of sinister music to build up tension and imply that something bad is about to happen. The low key lighting will also be continued throughout this frame as it is the same location. This will be shown through a POV shot to capture from the hit man's perspective the approach to the house.

In the next frame, Kate and I will show through a POV shot again images of the hit man letting himself in using the keys given to him by the antagonist and entering the house. The iconography of the keys will again be continued so that the audience are fully aware of how the hit man has managed to gain entry to the house without raising any suspicion. The sinister music will be built up in volume to again imply that something big and significant within the narrative is about to happen. The lighting will be low key as well as realistic to show that the new setting is natural and is somewhere that the audience will be able to relate to immediately.

The next shot we will use is an over the shoulder shot to demonstrate how the hit man is slowly approaching the victim without her knowing that someone is behind her. Iconography of the knife will be presented where the hit man is seen to hold the knife by his side as he approaches the antagonist's wife implying a murder is about to take place. Parallel sound of sinister music will again be played over this image to support what the audience are seeing on screen. Continuity editing will be evident in this frame to establish a coherence between two shots so that the audience don't get too confused of what is going on.

Leading on from this, the next frame will show the hit man raising the knife ready to murder his victim. A long shot will be used for this particular point within the narrative so as to be able to show the audience everything that is happening within the frame. At this point, the sinister music will be at his maximum volume as the murder seems imminent at this specific moment within the sequence. The editing technique of a jump cut will be used to divert the audience's attention onto this image so they are made aware that this is the moment the sequence has been leading up to. Again, iconography of the knife will be shown as the hit man prepares to kill the antagonist's wife. Low key lighting will also be continued to maintain a sinister and tense atmosphere.

Within the sixteenth frame, the audience witness the wife turning around, seeing her attacker and screaming while dropping the plate she was clearing away. Timing of shots will be used to focus upon the smashing of the plate in which this image will be edited together slowly and sped up at the very end when the plate smashes. A reaction shot will also be evident to show the victim's reaction to finding someone in her house with a knife. Furthermore, diegetic sounds of the plate smashing and screaming will be used to provide a realistic feel to the scene. Iconography will be the same as in the previous frame but with the addition of the plate. Also, low key lighting will again be used for dramatic effect as stated in previous frame.

The next frame will include the image of the hit man grabbing his victim and pulling the knife close to her body. The iconography of the knife will again be present as well as my group and I deciding to include the diegetic sound of screaming which could also act as an example of parallel sound as this matches the type of image the audience will see on screen. This will be used to create tension. The lighting will again be low key to capture the mood of the scene and the camera shot we will use for this particular frame will be a zoom in to capture facial expressions and body language. 

Following on from this, frame eighteen will see the narrative take a twist as the victim is stabbed multiple times by the hit man. The sound used will again be diegetic with the woman screaming but an addition of non diegetic sound of the knife stabbing will also be included to make the scene more realistic. Timing of shots will be the editing technique evident within this frame where the clips will be edited together quickly to pass the pace of the scene as well as creating surprise and tension. A zoom out shot will be used for this scene to make the audience aware of everything going on within the scene. 

Furthermore, the next frame sees a shallow focus shot being used to place emphasis and focus the audience's attention on the female victim's dead body on the ground covered in blood. This shot will also be shot at a high angle to show that the victim is weak and inferior due to being killed. Silence will be used for dramatic effect and to signify the end of the woman's life due to her screaming abruptly falling silent. Kuleshov effect will be evident as the audience will be able to see the previous image of the woman being stabbed and this next image of her body where they will gather the idea that the murder has just taken place. Low key lighting is again continued within this frame to maintain a tense and sinister atmosphere. 

Within frame twenty. the audience will see the hit man calling up the antagonist to tell him that the deed is done and that his wife is now dead. A mid shot will be used for this particular frame so as to capture body language and facial expressions of the hit man in the aftermath of the murder that has just occurred. The editing style we have decided to use in this is linking of sections so that the audience are aware that this has significance to previous images. Diegetic sounds of speech will also be used to capture the exchange between hit man and antagonist however the antagonist's reply on the other end may need to be edited in after the filming stage.

In the next frame, as the sequence nears its end, the audience will witness through the use of an over the shoulder shot the arrival of the antagonist at the murder scene. Non diegetic sound of the closing music will start to be played so as to connote that the sequence is almost at an end. Iconography will include the antagonist's set of house keys as the front door is opened and again, the blood bath is shown. A montage will be evident as a bunch of clips will be edited together to form this scene at this particular point within the sequence.

Frame twenty two sees the hit man sitting with his head in his hands appearing to question what he has done and appears to be extremely guilty and sympathetic. This shows straight away that the hit man had been forced into the situation and i turns out that he isn't a cold blooded killer after all. We will achieve this effect through the use of a high angle shot to portray him as being almost like a victim where it is revealed that the antagonist is the true bad guy within the sequence. Non diegetic sound of screaming and voices will be used to represent the hit man going insane and this will be added with blurred images. 

The twenty third frame shows both the hit man and antagonist exchanging a firm hand shake before the hit man is seen to leave the location. The non diegetic sound of the closing music will again be evident in this frame as it is the second to last frame. There will be no iconography or editing within this frame and is a simple image before the antagonist is left alone with the body of his dead wife. This will be shown through a two shot due to both characters being visible within the frame. 

Within the final frame, a zoom in will again be evident which captures the antagonist standing over his dead wife smiling menacingly before looking directly into the camera, taking off his mask which has been hiding his identity and revealing himself to the audience. This frame will be shown in the location of the antagonist and his wife's family home which they share together. The non diegetic sound of the closing music will be played over this image at a maximum volume so as to imply that this is the final frame within the sequence. After the antagonist has revealed his identity to the audience and stared directly into the camera a fade out will be used where the screen will fade to black to show that the sequence has now ended. 

This has helped finalise our group ideas as both mine and Kate's ideas have been able to come together to form one final idea of what the sequence will be like as well as creating a successful thriller sequence. It has also helped us to understand how much preparation goes into creating a thriller and also knowing what to include within each frame and knowing how each would look regarding the micro elements. As a group, we also know how we want our locations to look like and what actors will be shown in which specific roles which creates a general idea of what our opening sequence will appear as a whole.