"The music fitted in well with the story. It was a good choice as it was
calming yet creepy, and built in volume and pace as the action developed in your
piece.""I lulled into a full sense of security, and felt comfortable and settled at the beginning. You then get an uneasy feeling in your gut and feel concerned for the dancer when you see the plot begin to unravel. Once you realised there was more to the storyline that you initially thought, it made you want to continue watching."
"The dancer was a very believable and plausible character which allowed me to connect with her and wonder who she is, and what she is like. This automatically results in you being concerned for her safety once the shots of the photo wall evolve. The music adds to that sense of tension, and when the music builds your heart rate builds"
"The effects were used really well! The white flash and the camera shutter sound made me ask questions about what it was? and who was doing it? This gave a good initial atmosphere before the plot began to unravel some more"
"The overall feel of the piece was unique. You don't often seen such a calming start, but it really worked. The lack of violence/action was replaced by the feel of uneasyness and being uncomfortable when you watch. Kind of like a lump in your throat as you are not really sure what you are meant to be scared of. The whole construction of the piece really works"
I was very happy with the feedback we received, as they highlighted the key elements in which I was looking to produce. It made me more confident about our product and helped me to believe that we really did achieve what we set out to.
Tuesday 4 May 2010
Final Feedback
We showed our final piece to our class as got a range of feedback. Some of the feedback we were given included:
Monday 3 May 2010
Evaluation
I feel that the Thriller task, worked out really well.
I felt we achieved what we set out to and got the audience feeling the emotions and feelings that we constructed the product to do.
I have learnt a considerable amount from completing the preliminary exercise to completing the thriller task, from research and planning, to constructing and editing!
We got a good range of feedback and from this I know that our opening was a success and portrayed the atmosphere we wanted.
In what ways does your media product use, develop or challenge forms and conventions of real media products?
By watching many thriller films and trailers, and using the trailer for 'One Hour Photo' as our main inspiration for our film it allowed us to research into the forms and conventions it used that made it so successful.
We took most of our inspiration from One Hour Photo as it was more psychological, and played with the audience, that being full of action and violence.
We took this and used the different techniques when creating our own product.
To begin with, we wanted to settle the audience, like many psychological thrillers do, and make the audience feel comfortable and connected with the lead character, which in our case was the dancer.
We used slow motion effects, to really slow down the shots, for the audience to be able to focus and connect with the dancer, and the slow pace of the beginning contrasted dramatically with the faster pace towards the end. We wanted to see a definite build within our piece.
Once we had settled the audience, with slow music, and slow pace shots and editing, we started to introduce moments where the audience would begin to feel uneasy and perhaps uncomfortable.
We used sounds effects (camera shutter) and lighting effects (white flash, similar to a camera flash) right from the beginning, to get the audience questioning. Even though this was happening, the audience could still connect with the dancer, and feel settled watching the piece. However when we introduced shots of the photo wall, the audience begin question more, and due to the uncertainty that the shots create, the uneasy feeling and atmosphere begins to build.
In our thriller we used lighting to our advantage in setting the mood and atmosphere. In the dance studio it was very high key lighting, which reflected the dancer’s vulnerability. This hugely contrasted the darkness in the rest of the film as we used low key lighting for the rest of the shots. The photo wall was lit by a very soft light, with a hint of red that came through covering the lamp with a sheet of paper. The red represented a form of danger, which added to the tense atmosphere, as the audience could feel a hint of danger through the red light, however the unknown of who was behind the photo wall proved unsettling.
The fact the audience does not see any violence or actual danger towards the dancer, but can still be worried and concerned for her, shows that psychological thrillers can be just as successful as other sub-genres of thriller.
A similar for of audience manipulation is used in 'No Country for Old Men' and 'Psycho' because the audience doesn't visibly see the violence, but it is edited in such a way by using shadows and sound clips that we believe a brutal attack has took place without having to witness all of the gory details. This appears to work very well, however we wanted to try and achieve the same tense atmosphere that thriller have, without indicating any violence at all.
We wanted to create a sort binary opposition between good and evil because in many thrillers we have watched there is always some sort of convention of good and evil etc being portrayed. I felt we achieved this with the contrast of high and low key lighting, and the mis-en-scene we used.
The soundtrack we used was an instrumental piece which grew in volume and pace. This reflected the mood and pace of our opening, as the build up in pace of the music, complimented the quicker shots and cuts.
Also the way the music reflected the mood and pace of the film was used in the 'One Hour Photo' trailer as the music increased in pace which increased intensity and volume of the music, which led to the final action climax. We used this convention in our film by timing particular poignant parts of the music in with key parts of the storyline, for example when the music built up, it linked with the fast shots of the photo wall and the fire, and when the music was at its highest peak, we are revealed to a brief shot of who could be assumed to be the person behind creating the photo wall of the dancer.
The editing was very important to us because we had identified this as being the main factor that makes a film successful. We used a variety of length shots because by quickening up the cuts it increased the pace of the film, this increased the intensity of the film and built up the tension ready for the final climax scene, this technique was found in many different thriller trailers that we watched including 'One Hour Photo'.
By cutting between the park location and the photo wall location it showed the contrast between light and dark, good and evil.
How does your media product represent particular social groups?
The particular social group we focused on were young teenagers and the changes they may or may not go through.
The representation of our dancer was the ‘normal’ view on young girl teenagers in today’s society. However the end reveals that the person behind the photo wall and obsession with the dancer was in fact another female, and this was shown by a simple bracelet on the wrist of the girl. This shows a representation of a young teenager going through emotional struggles and unexplainable feelings in which lead her to her obsession.
Teenagers today go through many changes, from physical to emotional and feelings. We took this is an extreme however it still appears to happen in young people as well as the older generation.
What kind of media institution might distribute your media product and why?
Any large film company would distribute our product. We researched into who distributed the film 'One Hour' because ours was similar to this, and targeted a similar type of audience. Fox Searchlight Pictures is a film division of 20th Century Fox distributed this film, so we believe this media institution would be the ideal company to distribute ours because it is a globally known name and would give out film huge credibility and make people inclined to watch it.
Because of the thriller genre we were using it immediately gave our film a certificate of 15+, so we would have to be careful how we advertised the film such as not putting the adverts onto children’s channels or before the 9 o'clock watershed in case it watched by children underage, as it would be inappropriate. However as our film is of a low budget and not produced by world famous producers and directors there may be little interest by big global distributors in distributing our film for us. So we may have to target the niche market of distributors such as Film Four as they aim for a more niche and highbrow market by showing a mixture of old and new independent, art house, British, foreign language and specialist cinema, along with some critically-acclaimed Hollywood films, this describes our film precisely so maybe Film Four would be the better option however it wouldn't make our film as mainstream. Some independent cinemas may also be interested in showing our film as they are keen to display products from new amateur talents.
Some smaller TV channels may be interested in a proposal from us, and allow us to show our film straight through TV.
I believe our film should be shown through mainstream multiplex cinemas at night because it would create the scary thought provoking atmosphere we were looking for.
Who would be the audience for your media product?
The audience for our media product would be people above the age of 15, because our film would be given the viewing certificate of 15+ by the BBFC (British Board of Film Classification).
Our film would initially target females, as both the characters in the opening are female, however as the film continued it would also cater for males.
I feel that any age or gender could be attracted to our film, however as the thriller genre is very specific and not all types of people like the genre we realise that it wouldn't be everybody’s favourite film, so the audience for our media product would be a fan of the thriller genre who enjoys unravelling a complicating and intriguing psychological plot.
How did you attract/address your audience?
We created our opening to attract our audience from the start. We used editing effects and sound clips to get the audience asking questions about the characters and the plot.
We ensured the representation of our character was plausible and believable as she is the main connector between the audience the film.
We settled the audience from the start to allow them to connect with the dancer and feel concerned for her safety as they are introduced to the shots of the photo wall. As the climax of the piece is a twist, as most people would expect it to be a male stalking the dancer, rather than a female, we hope that the audience are drawn in enough to want to watch the rest.
On a bigger scale we would attract our audience to gain interest in our film by showing a series of advertisements on all standard channels, BBC 1, BBC 2, ITV 1, Channel 4 and Channel 5, but they would have to be shown after the 9 o'clock watershed so they don't cause any distress to younger viewers.
I felt we addressed our audience well as our representation of our dancer was believable and realistic, for the audience to connect with. I felt when we modified our product in order to bring in the shots of the photo wall quicker, we keep the audience’s interest as they are not waiting too long before anything happens. The music builds up along with the editing to a satisfying climax which leaves the audience asking more questions and wanting to see the rest of the film, which is what anybody wants from the opening of any film.
What have you learnt about technologies from the process of constructing this product?
I have learnt a great deal about the technologies used in constructing a media product.
I had very limited knowledge of using apple software on a MAC laptop before so I had to develop my skills considerably in order to create this product.
Initially we practiced using the technology by completing a short preliminary exercise that consisted of filming a short piece in the genre of your choice using the video cameras and equipment provided. By doing this exercise before going into our main Thriller task it allowed us to explore different camera techniques, angles and what worked on screen.
After we had collected all of our footage we then uploaded it onto the Apple Mac's, and then started the process of cutting all of the clips we had and editing them together to create a smooth professional looking sequence.
I learnt that you can never have too much footage because once editing you sometimes only need a few seconds worth of a particular clip, so if you have a variety of these then it can make your film more interesting. So when filming I learnt not to film just what you think you need, but to film more than you need in a variety of ways in order to have a good choice when it comes to editing.
Whilst editing our product I learnt;
• how to use transitions to make the cuts between clips smoother, add effects to clips to give a certain effect or create a particular atmosphere
• how to cut the clips so your left with the precise sections you want which can prove quite tricky to do
• how to put a clip into slow motion or alternatively quickening up a scene by changing the amount of frames per second
• how to add a soundtrack into your film for effect by fading in certain parts and emphasizing others.
However once we had played around with the apple software we got to grips with it and began to edit our product a lot quicker.
I learnt that the editing part was the section that made your film successful, created tension, and gave the overall atmosphere effect you desired, which you cannot achieve by filming alone.
Overall the technology involved in filming and editing our thriller was imperative but time consuming, but once we had practiced using the software it was simple to use.
Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?
Our preliminary task consisted of a few different camera shots, and movements, with a short amount of dialog spoken. It gave me a good insight into how to create short pieces that flow well continuity wise.
I have learnt how important the planning process is because on our preliminary task we did a brief storyboard of ideas and shot and that was it for our planning, but when doing our Thriller product we researched and planned in much more detail, for example we brainstormed possible ideas initially then had a meeting to develop our ideas and decide on a final storyline/plot.
We then completed brainstorms for things like location, props, wardrobe and make-up as well as character ideas. We used a brief storyboard of ideas to help us think of shots, the composition of our frames and the order sequence.
By completing all of this planning it allowed us to set deadlines and keep a track of what we needed at each filming session so we were organised and had plenty of time to edit and go back to film anything else we were missing, however we did not need to do this, but giving that extra time gave us something to lean back on if needed. By brainstorming our ideas together it allowed us to be creative and develop our ideas much further than the initial thoughts.
I feel as though I have learnt a huge amount in the progression from the preliminary task to the full product because I have learnt how to edit to create a certain atmosphere or effect by using editing effects such as slow motion.
I have also developed my camera skills, as during our preliminary task we only filmed what we thought we needed, and when we lost some footage our end product suffered. However during the Thriller task, I ensured more footage was filmed than we actually needed so when we came to edit we had a wide range of footage to choose from. This allowed us to create snappy and quick pace cuts towards the end to build the tension.
I believe through completing the preliminary exercise it allowed us to progress hugely because it gave us the experience with using the cameras to film and laptops for editing to create a certain atmosphere and to add tension, without doing the preliminary task it would have been a much longer process in completing our Thriller because we wouldn't have the skills needed to make our film successful and overcome obstacles and problems that occurred along the way.
I felt we achieved what we set out to and got the audience feeling the emotions and feelings that we constructed the product to do.
I have learnt a considerable amount from completing the preliminary exercise to completing the thriller task, from research and planning, to constructing and editing!
We got a good range of feedback and from this I know that our opening was a success and portrayed the atmosphere we wanted.
In what ways does your media product use, develop or challenge forms and conventions of real media products?
By watching many thriller films and trailers, and using the trailer for 'One Hour Photo' as our main inspiration for our film it allowed us to research into the forms and conventions it used that made it so successful.
We took most of our inspiration from One Hour Photo as it was more psychological, and played with the audience, that being full of action and violence.
We took this and used the different techniques when creating our own product.
To begin with, we wanted to settle the audience, like many psychological thrillers do, and make the audience feel comfortable and connected with the lead character, which in our case was the dancer.
We used slow motion effects, to really slow down the shots, for the audience to be able to focus and connect with the dancer, and the slow pace of the beginning contrasted dramatically with the faster pace towards the end. We wanted to see a definite build within our piece.
Once we had settled the audience, with slow music, and slow pace shots and editing, we started to introduce moments where the audience would begin to feel uneasy and perhaps uncomfortable.
We used sounds effects (camera shutter) and lighting effects (white flash, similar to a camera flash) right from the beginning, to get the audience questioning. Even though this was happening, the audience could still connect with the dancer, and feel settled watching the piece. However when we introduced shots of the photo wall, the audience begin question more, and due to the uncertainty that the shots create, the uneasy feeling and atmosphere begins to build.
In our thriller we used lighting to our advantage in setting the mood and atmosphere. In the dance studio it was very high key lighting, which reflected the dancer’s vulnerability. This hugely contrasted the darkness in the rest of the film as we used low key lighting for the rest of the shots. The photo wall was lit by a very soft light, with a hint of red that came through covering the lamp with a sheet of paper. The red represented a form of danger, which added to the tense atmosphere, as the audience could feel a hint of danger through the red light, however the unknown of who was behind the photo wall proved unsettling.
The fact the audience does not see any violence or actual danger towards the dancer, but can still be worried and concerned for her, shows that psychological thrillers can be just as successful as other sub-genres of thriller.
A similar for of audience manipulation is used in 'No Country for Old Men' and 'Psycho' because the audience doesn't visibly see the violence, but it is edited in such a way by using shadows and sound clips that we believe a brutal attack has took place without having to witness all of the gory details. This appears to work very well, however we wanted to try and achieve the same tense atmosphere that thriller have, without indicating any violence at all.
We wanted to create a sort binary opposition between good and evil because in many thrillers we have watched there is always some sort of convention of good and evil etc being portrayed. I felt we achieved this with the contrast of high and low key lighting, and the mis-en-scene we used.
The soundtrack we used was an instrumental piece which grew in volume and pace. This reflected the mood and pace of our opening, as the build up in pace of the music, complimented the quicker shots and cuts.
Also the way the music reflected the mood and pace of the film was used in the 'One Hour Photo' trailer as the music increased in pace which increased intensity and volume of the music, which led to the final action climax. We used this convention in our film by timing particular poignant parts of the music in with key parts of the storyline, for example when the music built up, it linked with the fast shots of the photo wall and the fire, and when the music was at its highest peak, we are revealed to a brief shot of who could be assumed to be the person behind creating the photo wall of the dancer.
The editing was very important to us because we had identified this as being the main factor that makes a film successful. We used a variety of length shots because by quickening up the cuts it increased the pace of the film, this increased the intensity of the film and built up the tension ready for the final climax scene, this technique was found in many different thriller trailers that we watched including 'One Hour Photo'.
By cutting between the park location and the photo wall location it showed the contrast between light and dark, good and evil.
How does your media product represent particular social groups?
The particular social group we focused on were young teenagers and the changes they may or may not go through.
The representation of our dancer was the ‘normal’ view on young girl teenagers in today’s society. However the end reveals that the person behind the photo wall and obsession with the dancer was in fact another female, and this was shown by a simple bracelet on the wrist of the girl. This shows a representation of a young teenager going through emotional struggles and unexplainable feelings in which lead her to her obsession.
Teenagers today go through many changes, from physical to emotional and feelings. We took this is an extreme however it still appears to happen in young people as well as the older generation.
What kind of media institution might distribute your media product and why?
Any large film company would distribute our product. We researched into who distributed the film 'One Hour' because ours was similar to this, and targeted a similar type of audience. Fox Searchlight Pictures is a film division of 20th Century Fox distributed this film, so we believe this media institution would be the ideal company to distribute ours because it is a globally known name and would give out film huge credibility and make people inclined to watch it.
Because of the thriller genre we were using it immediately gave our film a certificate of 15+, so we would have to be careful how we advertised the film such as not putting the adverts onto children’s channels or before the 9 o'clock watershed in case it watched by children underage, as it would be inappropriate. However as our film is of a low budget and not produced by world famous producers and directors there may be little interest by big global distributors in distributing our film for us. So we may have to target the niche market of distributors such as Film Four as they aim for a more niche and highbrow market by showing a mixture of old and new independent, art house, British, foreign language and specialist cinema, along with some critically-acclaimed Hollywood films, this describes our film precisely so maybe Film Four would be the better option however it wouldn't make our film as mainstream. Some independent cinemas may also be interested in showing our film as they are keen to display products from new amateur talents.
Some smaller TV channels may be interested in a proposal from us, and allow us to show our film straight through TV.
I believe our film should be shown through mainstream multiplex cinemas at night because it would create the scary thought provoking atmosphere we were looking for.
Who would be the audience for your media product?
The audience for our media product would be people above the age of 15, because our film would be given the viewing certificate of 15+ by the BBFC (British Board of Film Classification).
Our film would initially target females, as both the characters in the opening are female, however as the film continued it would also cater for males.
I feel that any age or gender could be attracted to our film, however as the thriller genre is very specific and not all types of people like the genre we realise that it wouldn't be everybody’s favourite film, so the audience for our media product would be a fan of the thriller genre who enjoys unravelling a complicating and intriguing psychological plot.
How did you attract/address your audience?
We created our opening to attract our audience from the start. We used editing effects and sound clips to get the audience asking questions about the characters and the plot.
We ensured the representation of our character was plausible and believable as she is the main connector between the audience the film.
We settled the audience from the start to allow them to connect with the dancer and feel concerned for her safety as they are introduced to the shots of the photo wall. As the climax of the piece is a twist, as most people would expect it to be a male stalking the dancer, rather than a female, we hope that the audience are drawn in enough to want to watch the rest.
On a bigger scale we would attract our audience to gain interest in our film by showing a series of advertisements on all standard channels, BBC 1, BBC 2, ITV 1, Channel 4 and Channel 5, but they would have to be shown after the 9 o'clock watershed so they don't cause any distress to younger viewers.
I felt we addressed our audience well as our representation of our dancer was believable and realistic, for the audience to connect with. I felt when we modified our product in order to bring in the shots of the photo wall quicker, we keep the audience’s interest as they are not waiting too long before anything happens. The music builds up along with the editing to a satisfying climax which leaves the audience asking more questions and wanting to see the rest of the film, which is what anybody wants from the opening of any film.
What have you learnt about technologies from the process of constructing this product?
I have learnt a great deal about the technologies used in constructing a media product.
I had very limited knowledge of using apple software on a MAC laptop before so I had to develop my skills considerably in order to create this product.
Initially we practiced using the technology by completing a short preliminary exercise that consisted of filming a short piece in the genre of your choice using the video cameras and equipment provided. By doing this exercise before going into our main Thriller task it allowed us to explore different camera techniques, angles and what worked on screen.
After we had collected all of our footage we then uploaded it onto the Apple Mac's, and then started the process of cutting all of the clips we had and editing them together to create a smooth professional looking sequence.
I learnt that you can never have too much footage because once editing you sometimes only need a few seconds worth of a particular clip, so if you have a variety of these then it can make your film more interesting. So when filming I learnt not to film just what you think you need, but to film more than you need in a variety of ways in order to have a good choice when it comes to editing.
Whilst editing our product I learnt;
• how to use transitions to make the cuts between clips smoother, add effects to clips to give a certain effect or create a particular atmosphere
• how to cut the clips so your left with the precise sections you want which can prove quite tricky to do
• how to put a clip into slow motion or alternatively quickening up a scene by changing the amount of frames per second
• how to add a soundtrack into your film for effect by fading in certain parts and emphasizing others.
However once we had played around with the apple software we got to grips with it and began to edit our product a lot quicker.
I learnt that the editing part was the section that made your film successful, created tension, and gave the overall atmosphere effect you desired, which you cannot achieve by filming alone.
Overall the technology involved in filming and editing our thriller was imperative but time consuming, but once we had practiced using the software it was simple to use.
Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?
Our preliminary task consisted of a few different camera shots, and movements, with a short amount of dialog spoken. It gave me a good insight into how to create short pieces that flow well continuity wise.
I have learnt how important the planning process is because on our preliminary task we did a brief storyboard of ideas and shot and that was it for our planning, but when doing our Thriller product we researched and planned in much more detail, for example we brainstormed possible ideas initially then had a meeting to develop our ideas and decide on a final storyline/plot.
We then completed brainstorms for things like location, props, wardrobe and make-up as well as character ideas. We used a brief storyboard of ideas to help us think of shots, the composition of our frames and the order sequence.
By completing all of this planning it allowed us to set deadlines and keep a track of what we needed at each filming session so we were organised and had plenty of time to edit and go back to film anything else we were missing, however we did not need to do this, but giving that extra time gave us something to lean back on if needed. By brainstorming our ideas together it allowed us to be creative and develop our ideas much further than the initial thoughts.
I feel as though I have learnt a huge amount in the progression from the preliminary task to the full product because I have learnt how to edit to create a certain atmosphere or effect by using editing effects such as slow motion.
I have also developed my camera skills, as during our preliminary task we only filmed what we thought we needed, and when we lost some footage our end product suffered. However during the Thriller task, I ensured more footage was filmed than we actually needed so when we came to edit we had a wide range of footage to choose from. This allowed us to create snappy and quick pace cuts towards the end to build the tension.
I believe through completing the preliminary exercise it allowed us to progress hugely because it gave us the experience with using the cameras to film and laptops for editing to create a certain atmosphere and to add tension, without doing the preliminary task it would have been a much longer process in completing our Thriller because we wouldn't have the skills needed to make our film successful and overcome obstacles and problems that occurred along the way.
Saturday 1 May 2010
Initial Feedback
After completing our piece we showed it to a number of people, looking for feedback.
We were hoping to get constructive criticism for where our piece could be improved, so that we could modify our opening and make it the best it can be.
We got feedback such as:
All of our feedback were similar to those stated above, and it became clear that we needed to modify the piece and bring the action in quicker, to draw the audience in from the start.
Once we did this, we were fully satisfied with our piece and feel we have achieved what we set out to, and created a piece that fits in with the forms and conventions of a thriller, but in a new, fresh and unique way.
We were hoping to get constructive criticism for where our piece could be improved, so that we could modify our opening and make it the best it can be.
We got feedback such as:
" The shots of the photowall should come in sooner, to create the sense of uneasiness earlier on, as there is too much footage of the dancer with little action happening "
"The music is a really good choice, as it creates a creepy mood and atmosphere to the piece"
"The slow pace of the piece works well, and the twist at the end draws you in to make you want to watch more. The slow pace fits in well the the feminine feel and the twist, however the action of the photowall should happen earlier"
All of our feedback were similar to those stated above, and it became clear that we needed to modify the piece and bring the action in quicker, to draw the audience in from the start.
Once we did this, we were fully satisfied with our piece and feel we have achieved what we set out to, and created a piece that fits in with the forms and conventions of a thriller, but in a new, fresh and unique way.
Film Classifications set by the BBFC
After discussing all of the Film Classification labels and researching what could and couldn't be shown on each one we decided to set our thriller opening to a 15 because even though no violence is shown in the opening, the film would lead onto more chilling and explicit viewing.
The way in which our opening chills the audience and creates an uneasy/unsettling feeling, we did not think it would be suitable for under 15's.
Generally most thrillers are classed as 15 or 18's so this would be in line with the type of audience we would be targeting and make it suitable for their viewing.
'15' – Suitable only for 15 years and over
No-one younger than 15 may see a ‘15’ film in a cinema.
No-one younger than 15 may rent or buy a ‘15’ rated video or DVD.
Theme
No theme is prohibited, provided the treatment is appropriate to 15 year olds.
Language
There may be frequent use of strong language (eg 'fuck'). But the strongest terms (eg 'cunt') will be acceptable only where justified by the context. Continued aggressive use of the strongest language is unlikely to be acceptable.
Nudity
Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.
Sex
Sexual activity may be portrayed but without strong detail. There may be strong verbal references to sexual behaviour.
Violence
Violence may be strong but may not dwell on the infliction of pain or injury. Scenes of sexual violence must be discreet and brief.
Imitable techniques
Dangerous techniques (eg combat, hanging, suicide and self-harming) should not dwell on imitable detail. Easily accessible weapons should not be glamorised.
Horror
Strong threat and menace are permitted. The strongest gory images are unlikely to be acceptable.
Drugs
Drug taking may be shown but the film as a whole must not promote or encourage drug misuse.
'18' – Suitable only for adults
No-one younger than 18 may see an ‘18’ film in a cinema.
No-one younger than 18 may rent or buy an ‘18’ rated video.
In line with the consistent findings of the BBFC's public consultations, at '18' the BBFC's guideline concerns will not normally override the wish that adults should be free to chose their own entertainment, within the law. Exceptions are most likely in the following areas:
Where material or treatment appears to the Board to risk harm to individuals or, through their behaviour, to society – e.g. any detailed portrayal of violent or dangerous acts, or of illegal drug use, which is likely to promote the activity. The Board may also intervene with portrayals of sexual violence which might, e.g. eroticise or endorse sexual assault.
The more explicit images of sexual activity – unless they can be exceptionally justified by context and the work is not a 'sex work' as defined below.
In the case of videos and DVDs, which may be more accessible to younger viewers, intervention may be more frequent. For the same reason, and because of the different way in which they are experienced, the Board may take a more precautionary approach in the case of those digital games which are covered by the Video Recordings Act.
The way in which our opening chills the audience and creates an uneasy/unsettling feeling, we did not think it would be suitable for under 15's.
Generally most thrillers are classed as 15 or 18's so this would be in line with the type of audience we would be targeting and make it suitable for their viewing.
'15' – Suitable only for 15 years and over
No-one younger than 15 may see a ‘15’ film in a cinema.
No-one younger than 15 may rent or buy a ‘15’ rated video or DVD.
Theme
No theme is prohibited, provided the treatment is appropriate to 15 year olds.
Language
There may be frequent use of strong language (eg 'fuck'). But the strongest terms (eg 'cunt') will be acceptable only where justified by the context. Continued aggressive use of the strongest language is unlikely to be acceptable.
Nudity
Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.
Sex
Sexual activity may be portrayed but without strong detail. There may be strong verbal references to sexual behaviour.
Violence
Violence may be strong but may not dwell on the infliction of pain or injury. Scenes of sexual violence must be discreet and brief.
Imitable techniques
Dangerous techniques (eg combat, hanging, suicide and self-harming) should not dwell on imitable detail. Easily accessible weapons should not be glamorised.
Horror
Strong threat and menace are permitted. The strongest gory images are unlikely to be acceptable.
Drugs
Drug taking may be shown but the film as a whole must not promote or encourage drug misuse.
'18' – Suitable only for adults
No-one younger than 18 may see an ‘18’ film in a cinema.
No-one younger than 18 may rent or buy an ‘18’ rated video.
In line with the consistent findings of the BBFC's public consultations, at '18' the BBFC's guideline concerns will not normally override the wish that adults should be free to chose their own entertainment, within the law. Exceptions are most likely in the following areas:
Where material or treatment appears to the Board to risk harm to individuals or, through their behaviour, to society – e.g. any detailed portrayal of violent or dangerous acts, or of illegal drug use, which is likely to promote the activity. The Board may also intervene with portrayals of sexual violence which might, e.g. eroticise or endorse sexual assault.
The more explicit images of sexual activity – unless they can be exceptionally justified by context and the work is not a 'sex work' as defined below.
In the case of videos and DVDs, which may be more accessible to younger viewers, intervention may be more frequent. For the same reason, and because of the different way in which they are experienced, the Board may take a more precautionary approach in the case of those digital games which are covered by the Video Recordings Act.
Naming The Piece
We thought of many different names for our piece, all to do with having an obsession.
We did not want to be obvious with our name, so we researched into different types of obsessions and naming for these.
We thought the best name for our piece was Infatuation;
The word can mean a variety of different type of obsession.
Infatuation
A noun
an object of extravagant short-lived passion
Category Tree:
psychological feature
╚cognition; knowledge; noesis
╚content; cognitive content; mental object
╚object
╚infatuation
2. Infatuation
foolish and usually extravagant passion or love or admiration
Category Tree:
psychological feature
╚feeling
╚passion; passionateness
╚infatuation
3. puppy love, calf love, crush, infatuation
temporary love of an adolescent
Category Tree:
psychological feature
╚feeling
╚emotion
╚love
╚puppy love, calf love, crush, infatuation
We did not want to be obvious with our name, so we researched into different types of obsessions and naming for these.
We thought the best name for our piece was Infatuation;
The word can mean a variety of different type of obsession.
Infatuation
A noun
an object of extravagant short-lived passion
Category Tree:
psychological feature
╚cognition; knowledge; noesis
╚content; cognitive content; mental object
╚object
╚infatuation
2. Infatuation
foolish and usually extravagant passion or love or admiration
Category Tree:
psychological feature
╚feeling
╚passion; passionateness
╚infatuation
3. puppy love, calf love, crush, infatuation
temporary love of an adolescent
Category Tree:
psychological feature
╚feeling
╚emotion
╚love
╚puppy love, calf love, crush, infatuation
Audio
Soundtrack:
We wanted our soundtrack to relate to the feminine feel of our piece, and fit well with the dancer.
We also wanted the track to build up, in order to help create the tension through our piece.
We wanted the piece of music to help create the atmosphere of our piece, and come across as subtly creepy. That can, along with the shots, create chills and an unsettling feel.
Criteria;
- Slow pace to begin with and then build up in pace
- Have a 'dance' feel, with a hint of feminine
- Instrumental piece
We listened to a number of soundtracks and shot listed some to listen to again.
We listened to the short list whilst watching some of our filmed footage, and some pieces of music had a too fast pace over all and others didn't have the right sense of tension.
We came to a conclusion to use the soundtrack: Merry Christmas Mr.Lawrence
We felt it fits in with our criteria and seems to click with the storyline and the material we had filmed.
I cut and edited the music in order to fit with the piece, as the soundtrack was longer than our opening. I picked the best sections of the soundtrack, and ensured it still built up in pace and tension.
Camera Shutter
We want to use a camera shutter sound over some of our transactions/effects during our piece, to begin to raise mystery and questioning right from the start of our opening.
We researched many sound effects on the internet, and none sounded quite right.
In the end we recorded the sound from a digital camera, and imported the sound when editing.
We wanted our soundtrack to relate to the feminine feel of our piece, and fit well with the dancer.
We also wanted the track to build up, in order to help create the tension through our piece.
We wanted the piece of music to help create the atmosphere of our piece, and come across as subtly creepy. That can, along with the shots, create chills and an unsettling feel.
Criteria;
- Slow pace to begin with and then build up in pace
- Have a 'dance' feel, with a hint of feminine
- Instrumental piece
We listened to a number of soundtracks and shot listed some to listen to again.
We listened to the short list whilst watching some of our filmed footage, and some pieces of music had a too fast pace over all and others didn't have the right sense of tension.
We came to a conclusion to use the soundtrack: Merry Christmas Mr.Lawrence
We felt it fits in with our criteria and seems to click with the storyline and the material we had filmed.
I cut and edited the music in order to fit with the piece, as the soundtrack was longer than our opening. I picked the best sections of the soundtrack, and ensured it still built up in pace and tension.
Camera Shutter
We want to use a camera shutter sound over some of our transactions/effects during our piece, to begin to raise mystery and questioning right from the start of our opening.
We researched many sound effects on the internet, and none sounded quite right.
In the end we recorded the sound from a digital camera, and imported the sound when editing.
Filming - Day 3
Fire:
This was our final day of filming. It was important as it was for the climax of our piece, so we wanted to get it perfect.
Planning Sheet:
This shoot went well. The planning sheet made sure we got all the shots we needed for editing. Leaving the lighting as the natural light from the fire worked very well and was just enough for the shots.
This was our final day of filming. It was important as it was for the climax of our piece, so we wanted to get it perfect.
Planning Sheet:
This shoot went well. The planning sheet made sure we got all the shots we needed for editing. Leaving the lighting as the natural light from the fire worked very well and was just enough for the shots.
Filming - Day 2
Photowall:
The second lot of filming I did on my own, as it was only simple shots that needed to be filmed.
The planning sheet helped me remember everything I needed to get, in terms of shots and movement.
This filming session went well. I got a good range of material for editing. The lighting turned out to work very well and added a good and effective touch to the shots.
The second lot of filming I did on my own, as it was only simple shots that needed to be filmed.
The planning sheet helped me remember everything I needed to get, in terms of shots and movement.
This filming session went well. I got a good range of material for editing. The lighting turned out to work very well and added a good and effective touch to the shots.
Filming - Day 1
This day of filming was the most important when it came to planning. As we needed to ensure our female character (Rosie) was ready for filming.
I applied Rosie's make-up how we planned, and got her ready in wardrobe.
We ensured we had all our equipment and props for the shoot. I created planning sheets to keep us organised and to make sure we didn't forget anything;
The first day of filming went really well. We got a good range of shots, and camera movements. I feel we have enough material to work with when editing.
I applied Rosie's make-up how we planned, and got her ready in wardrobe.
We ensured we had all our equipment and props for the shoot. I created planning sheets to keep us organised and to make sure we didn't forget anything;
The first day of filming went really well. We got a good range of shots, and camera movements. I feel we have enough material to work with when editing.
Lighting Prep
Dance Studio:
The dance studio has high key lighting from the natural light that flows in through the sky lights. There is enough light to fill the dance studio, with enough to film and it come across as high key lighting.
Fire:
The fire scenes, we want to be low key lighting with just enough light to see the action taking place. We tested the fire in a dark room, and on camera, there was just enough light from the fire to light the shot natural. It looks effective as the fire's light creates a mysterious shadow to light the frame.
Photowall:
The photowall shots are the only shots that need artificial lighting. We wanted the lighting to be low key, but with a very soft lighting to light the photos, but also a soft red tint to the lighting. This hopefully will create symbolism for danger.
I tested different lighting effects on the photowall, and the best option was a simple table lamp, with a piece of paper over the bulb. This created very little light, but just enough to light the pictures on the camera.
This option also creates a soft red hint to the lighting, which created the perfect lighting for the atmosphere and look we want to create.
The dance studio has high key lighting from the natural light that flows in through the sky lights. There is enough light to fill the dance studio, with enough to film and it come across as high key lighting.
Fire:
The fire scenes, we want to be low key lighting with just enough light to see the action taking place. We tested the fire in a dark room, and on camera, there was just enough light from the fire to light the shot natural. It looks effective as the fire's light creates a mysterious shadow to light the frame.
Photowall:
The photowall shots are the only shots that need artificial lighting. We wanted the lighting to be low key, but with a very soft lighting to light the photos, but also a soft red tint to the lighting. This hopefully will create symbolism for danger.
I tested different lighting effects on the photowall, and the best option was a simple table lamp, with a piece of paper over the bulb. This created very little light, but just enough to light the pictures on the camera.
This option also creates a soft red hint to the lighting, which created the perfect lighting for the atmosphere and look we want to create.
Planning/Preparing the Photowall
The photowall is the key element within our piece that will trigger the uneasy feeling for the audience.
We know that this is the most important thing to get right in order for the piece to work and achieve what we want.
We decided that all of the pictures should be of our lead character on her own and with the other people, but we wanted the other people in the photos blurred out.
Once we had the location and the photos we could put them together for the overall look of the photowall. It turned out great and with the correct lighting, will be perfect for the filming of our thiller.
For an added touch, we decided to add post it notes, with the date and time of certain pictures. We hope this adds to the tension we want to build and get the audience asking questions about the stalker.
We know that this is the most important thing to get right in order for the piece to work and achieve what we want.
We decided that all of the pictures should be of our lead character on her own and with the other people, but we wanted the other people in the photos blurred out.
We also wanted a mix of photos, including ones that would appear to the audience that the 'stalker' had taken.
We feel this will give the right atmosphere, mystery and tension for the audience, hopefully making them feel uncomfortable.
We feel this will give the right atmosphere, mystery and tension for the audience, hopefully making them feel uncomfortable.
To prepare for this, we went out at night with a camera and took photos of our female character from a 'stalker' point of view.
We took many like this, to add into the collection of photos to use on the photowall.
We got each photo printed into photos, to give it a realistic look, rather than printing onto paper.
Location:
We needed to find an appropriate location for our photowall. We looked a many walls, and put up the pictures to look at the sizing. Many walls were too big, and with the amount of photos we had, made the photos look very small, and ruined the effect of there being a big wall full of photos.
We eventually found a wall in my bathroom, which was small and the photos fitted onto it nicely. With the wall being small, it made the photowall look bigger and fuller, giving the exact look we wanted to create that sense of obsession.
Once we had the location and the photos we could put them together for the overall look of the photowall. It turned out great and with the correct lighting, will be perfect for the filming of our thiller.
For an added touch, we decided to add post it notes, with the date and time of certain pictures. We hope this adds to the tension we want to build and get the audience asking questions about the stalker.
Props/Mis en Scene
Dance Studio:
Props:
We did not need any props accept what was in the dance studio. This included a large CD player in the bottom left hand corner of the studio by the mirrors.
We do not wish to move this when filming as we thought it gave a more natural and believe feel to the scenes, as you would expect to find this in a dance studio.
We decided we would add a couple of chairs a perhaps a bag, in which would be the dancers, in the background of some of the shots, again to make the setting more believable to our audience.
Mis en Scene:
We do not need to change anything in the dance studio for filming, as the mis en scene was perfect.
The high key, natural lighting and the big dance studio with the minimal props is all we need when shooting the scenes of the dancer.
Photowall:
Props: For the photowall, we need a lot of photos of our character. They need to be a range of different photos, and including ones in which the 'stalker' had taken. We wish for other people in the photos to be blurred out, and only our female character is in focus.
Mis en Scene:
As you do not see the location or any surroundings in which the photowall is set, the mis en scene is not vitally important. The only thing that would add to the mis en scene is the lighting, which was want to be soft but have a hint of red to it, to add that feel and sense of danger.
Fire:
Props: During these shots, you see a girl cutting a photo in half and burning half of the photo. For this to be filmed, we need;
- a pair of scissors
- one photo
- and a braclet for the female to wear in order to strike that sense of questioning from the audience as to why the stalker is wearing a braclet and then for them to realize it is a female.
Mis en Scene:
Again, in these shots you do not see much of the surrounding/location.
We want the natural light given off the fire to light our shots, as it is just enough to light the action of the shots, and give that mystery and tense atmosphere.
Props:
We did not need any props accept what was in the dance studio. This included a large CD player in the bottom left hand corner of the studio by the mirrors.
We do not wish to move this when filming as we thought it gave a more natural and believe feel to the scenes, as you would expect to find this in a dance studio.
We decided we would add a couple of chairs a perhaps a bag, in which would be the dancers, in the background of some of the shots, again to make the setting more believable to our audience.
Mis en Scene:
We do not need to change anything in the dance studio for filming, as the mis en scene was perfect.
The high key, natural lighting and the big dance studio with the minimal props is all we need when shooting the scenes of the dancer.
Photowall:
Props: For the photowall, we need a lot of photos of our character. They need to be a range of different photos, and including ones in which the 'stalker' had taken. We wish for other people in the photos to be blurred out, and only our female character is in focus.
Mis en Scene:
As you do not see the location or any surroundings in which the photowall is set, the mis en scene is not vitally important. The only thing that would add to the mis en scene is the lighting, which was want to be soft but have a hint of red to it, to add that feel and sense of danger.
Fire:
Props: During these shots, you see a girl cutting a photo in half and burning half of the photo. For this to be filmed, we need;
- a pair of scissors
- one photo
- and a braclet for the female to wear in order to strike that sense of questioning from the audience as to why the stalker is wearing a braclet and then for them to realize it is a female.
Mis en Scene:
Again, in these shots you do not see much of the surrounding/location.
We want the natural light given off the fire to light our shots, as it is just enough to light the action of the shots, and give that mystery and tense atmosphere.
Make-up
We wanted our make-up to represent vunerability as well as the costume did.
From my knowledge of costume and make-up I have received through years of theatre experience, I know that plain and simple make-up is best for the representation we wish to portray.
We did not want, big and bold make-up that would distract and create the wrong image or impression.
We felt that the overall look of our character, with costume and make-up represented her in the way we wanted and created a character that the audience could believe and connect with.
From my knowledge of costume and make-up I have received through years of theatre experience, I know that plain and simple make-up is best for the representation we wish to portray.
We did not want, big and bold make-up that would distract and create the wrong image or impression.
We felt that the overall look of our character, with costume and make-up represented her in the way we wanted and created a character that the audience could believe and connect with.
Wardrobe
As we only have one character we need to full costume, we wanted to ensure the representation of our character was perfect.
We wanted to represent our young teenage dancers, as your fairly average teenager with a passion for dance. But we also wanted that hint of venerability to come through to help the audience connect with her and allow them to feel for her and be concerned for her safety as she
appeared venerable.
We thought that basic nude colours would be best for the costume, rather than bold colours that stand out. We believe that the nude colours represent her venerability, as she will appear almost 'naked'.
We thought the white and black top was too bold with the bow on it, and the grey didn't give the level of venerability we hoped for. So we decided on the left hand side piece, as it was perfect for the representation we were hoping for.
It was a perfect colour, as it appeared skin colour, which allowed our dancer to appear more naked and vunerable. The fact the piece is not to tight will work well when filming, as it has movement.
We wanted to represent our young teenage dancers, as your fairly average teenager with a passion for dance. But we also wanted that hint of venerability to come through to help the audience connect with her and allow them to feel for her and be concerned for her safety as she
appeared venerable.
We thought that basic nude colours would be best for the costume, rather than bold colours that stand out. We believe that the nude colours represent her venerability, as she will appear almost 'naked'.
We thought the white and black top was too bold with the bow on it, and the grey didn't give the level of venerability we hoped for. So we decided on the left hand side piece, as it was perfect for the representation we were hoping for.
It was a perfect colour, as it appeared skin colour, which allowed our dancer to appear more naked and vunerable. The fact the piece is not to tight will work well when filming, as it has movement.
Storyboards
As my drawing skills are very limited, I used these storyboards to make notes and brief drawings on how we wanted our shots/frames to look and a rough idea on the order of the shots.
I made notes on the types of shots, lighting, and some editing notes. This gives us a good idea of a plan when it comes to filming the piece. As we had the bones of the piece to plan the types of shots and camera movements we needed to film.
An example of two frames we planned;
Overview of films and directors that influenced us;
We watched many thrillers in order to influence us, and get inspriation and ideas;
- Sev7en
- Taking Lives
- No Country for Old Men
- Phonebooth
- One Hour Photo
- Pyscho
and we also watched the opening to many others, to see how famous professional directors such as Hitchcock and the director of Taking lives, D.J Caruso, create tension and suspense in order to make the audience want to watch the rest of the film.
We also watched past student thrillers, who had the same brief as we do. This was really helpful as we could see how other students dealt with the brief and what they acheived.
Directors:
Alfred Hitchcock is the undisputed King of Suspense Thrillers and several of his movies appear in Couples Company’s Top 25 Suspense Films of All Time.
A new Hitchcock is on the horizon and he’s made his talent and presence known through The Sixth Sense and Signs.
M. Night Shyamalan shows Hitchcock’s uncanny ability to combine psychology, spirituality and intrigue into hair-raising, spine-chilling stories that tap into our deepest fears while peppering the plot with humor and common sense humanity.
Alfred Hitchcock
Total Movies: 58
Career Span (Number of movies by decade):
1920s - 11
1930s - 15
1940s - 14
1950s - 11
1960s - 5
1970s - 2
Top Movies:
1. Rear Window (1954)
2. Psycho (1960)
3. Vertigo (1958)
4. Shadow of a Doubt (1943)
Steven Spielberg
Number of Movies: 32
Career Span (Number of movies by decade):
1950s - 1
1960s - 3
1970s - 3
1980s - 7
1990s - 7
2000s - 9
Top Movies:
1. Raiders of the Lost Ark (1981)
2. Jaws (1975)
3. Close Encounters of the Third Kind (1977)
4. Indiana Jones and the Last Crusade (1989)
James Cameron
Number of Movies: 13
Career Span (Number of movies by decade)
1970s - 1
1980s - 4
1990s - 4
2000s - 4
Top Movies:
1. Aliens (1986)
2. Terminator, The (1984)
3. Terminator 2: Judgment Day (1991)
4. Abyss, The (1989)
Quentin Tarantino
Number of Movies: 9
Career Span (Number of movies by decade)
1990s - 3
2000s - 4
Top Movies:
1. Pulp Fiction (1994)
2. Kill Bill: Volume 2 (2004)
3. Reservoir Dogs (1992)
4. Kill Bill: Vol. 1 (2003)
Martin Scorsese
Number of Movies: 32
Career Span (Number of movies by decade):
1950s - 1
1960s - 1
1970s - 8
1980s - 5
1990s - 8
2000s - 8
Top Movies:
1. Taxi Driver (1976)
2. Departed, The (2006)
3. After Hours (1985)
4. Bringing Out the Dead (1999)
Christopher Nolan
Number of Movies: 7
Career Span (Number of movies by decade):
1990s - 2
2000s - 5
Top Movies:
1. Dark Knight, The (2008)
2. Memento (2000)
3. Insomnia (2002)
4. Prestige, The (2006)
Roman Polanski
Number of Movies: 25
Career Span (Number of movies by decade):
1950s - 7
1960s - 6
1970s - 5
1980s - 2
1990s - 2
2000s - 2
Top Movies:
1. Chinatown (1974)
2. Repulsion (1965)
3. Ghost Writer, The (2010)
4. Cul-de-sac (1966)
David Fincher
Number of Movies: 6
Career Span (Number of movies by decade):
1990s - 3
2000s - 3
Top Movies:
1. Fight Club (1999)
2. Zodiac (2007)
3. Se7en (1995)
4. Game, The (1997)
John Carpenter
Number of Movies: 23
Career Span (Number of movies by decade):
1960s - 5
1970s - 3
1980s - 8
1990s - 5
2000s - 2
Top Movies:
1. Halloween (1978)
2. Assault on Precinct 13 (1976)
3. Dark Star (1974)
4. Escape from New York (1981)
David Cronenberg
Number Of Movies: 23
Career Span (Number of movies by decade):
1960s - 3
1970s - 5
1980s - 5
1990s - 4
2000s - 6
Top Movies:
1. Dead Zone, The (1983)
2. Fly, The (1986)
3. History of Violence, A (2005)
4. Eastern Promises (2007)
- Sev7en
- Taking Lives
- No Country for Old Men
- Phonebooth
- One Hour Photo
- Pyscho
and we also watched the opening to many others, to see how famous professional directors such as Hitchcock and the director of Taking lives, D.J Caruso, create tension and suspense in order to make the audience want to watch the rest of the film.
We also watched past student thrillers, who had the same brief as we do. This was really helpful as we could see how other students dealt with the brief and what they acheived.
Directors:
Alfred Hitchcock is the undisputed King of Suspense Thrillers and several of his movies appear in Couples Company’s Top 25 Suspense Films of All Time.
A new Hitchcock is on the horizon and he’s made his talent and presence known through The Sixth Sense and Signs.
M. Night Shyamalan shows Hitchcock’s uncanny ability to combine psychology, spirituality and intrigue into hair-raising, spine-chilling stories that tap into our deepest fears while peppering the plot with humor and common sense humanity.
Alfred Hitchcock
Total Movies: 58
Career Span (Number of movies by decade):
1920s - 11
1930s - 15
1940s - 14
1950s - 11
1960s - 5
1970s - 2
Top Movies:
1. Rear Window (1954)
2. Psycho (1960)
3. Vertigo (1958)
4. Shadow of a Doubt (1943)
Steven Spielberg
Number of Movies: 32
Career Span (Number of movies by decade):
1950s - 1
1960s - 3
1970s - 3
1980s - 7
1990s - 7
2000s - 9
Top Movies:
1. Raiders of the Lost Ark (1981)
2. Jaws (1975)
3. Close Encounters of the Third Kind (1977)
4. Indiana Jones and the Last Crusade (1989)
James Cameron
Number of Movies: 13
Career Span (Number of movies by decade)
1970s - 1
1980s - 4
1990s - 4
2000s - 4
Top Movies:
1. Aliens (1986)
2. Terminator, The (1984)
3. Terminator 2: Judgment Day (1991)
4. Abyss, The (1989)
Quentin Tarantino
Number of Movies: 9
Career Span (Number of movies by decade)
1990s - 3
2000s - 4
Top Movies:
1. Pulp Fiction (1994)
2. Kill Bill: Volume 2 (2004)
3. Reservoir Dogs (1992)
4. Kill Bill: Vol. 1 (2003)
Martin Scorsese
Number of Movies: 32
Career Span (Number of movies by decade):
1950s - 1
1960s - 1
1970s - 8
1980s - 5
1990s - 8
2000s - 8
Top Movies:
1. Taxi Driver (1976)
2. Departed, The (2006)
3. After Hours (1985)
4. Bringing Out the Dead (1999)
Christopher Nolan
Number of Movies: 7
Career Span (Number of movies by decade):
1990s - 2
2000s - 5
Top Movies:
1. Dark Knight, The (2008)
2. Memento (2000)
3. Insomnia (2002)
4. Prestige, The (2006)
Roman Polanski
Number of Movies: 25
Career Span (Number of movies by decade):
1950s - 7
1960s - 6
1970s - 5
1980s - 2
1990s - 2
2000s - 2
Top Movies:
1. Chinatown (1974)
2. Repulsion (1965)
3. Ghost Writer, The (2010)
4. Cul-de-sac (1966)
David Fincher
Number of Movies: 6
Career Span (Number of movies by decade):
1990s - 3
2000s - 3
Top Movies:
1. Fight Club (1999)
2. Zodiac (2007)
3. Se7en (1995)
4. Game, The (1997)
John Carpenter
Number of Movies: 23
Career Span (Number of movies by decade):
1960s - 5
1970s - 3
1980s - 8
1990s - 5
2000s - 2
Top Movies:
1. Halloween (1978)
2. Assault on Precinct 13 (1976)
3. Dark Star (1974)
4. Escape from New York (1981)
David Cronenberg
Number Of Movies: 23
Career Span (Number of movies by decade):
1960s - 3
1970s - 5
1980s - 5
1990s - 4
2000s - 6
Top Movies:
1. Dead Zone, The (1983)
2. Fly, The (1986)
3. History of Violence, A (2005)
4. Eastern Promises (2007)
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