2) Faye Ripley is a young girl who has started to react to her troubled past. We used the ironic title and certain props to suggest an essence of innocence:
Battling with the traditional stereotypes of the incapability of women and weakness, we made Faye the lead and the killer. It is usually a male lead that is reacting to a difficult past. Faye is intergrated into an identifiable social group, the sort who fit in nowhere else because of their queer personality aspects. This relatable approach also helps with audience appeal. Her actions, speech and props all suggest this. A typical killer is normally male with neurotic tendencies, such as The Joker in Batman, whilst typical victims are female and helpless, usually very normal, such as the female victims in the Scream collection (I tried to embed images but the rights are reserved and contain copyright control =[)
3) Our production values and non-cinematic approach give a feel of a British independent movie. As a group, we researched into independent institutions such as Entertainment Film Distributors. Founded in 1978, it is Britain's leading independent media retailer, and have created films such as The Lord Of The Rings trilogy. They have found success in the recent Run Fat Boy Run and ST.Trinians and are expectant to pump money back into the British film industry with Ink Heart. They operate in both the UK AND Rep. Ireland, distributing theatrically, cinematically, in media forms such as DVD's and have an impressive catalouge of viewing options in terms of terrestrial, analogue and digital television. As a personal favorite trilogy, they have distributed Final Destination and other thrillers' such as Pathology, and their high distribution values also suggests they will be suitable.
4)The narrative, genre and filing style would appeal to a younger audience; my guess is the 15-25 age range, as UK census statistics prove that this age group are most likely to watch a thriller. We decided on the attractive qualities as a result of our questionnaires. The characterization is also highly identifiable, and with this being the age group of self-realization, a young audience would enjoy identifying with the characters. Our viewing certificate would be UK 15 if it was passed by the BBFC:
5) We attracted our audience with hearsay to begin with. Once word got round about the narrative, we handed out questionnaires that hinted at its content and what our audience thought, with the knowledge that this will improve the product. We then began open casting to involve the audience even further, and advertised fully. After this strenuous process and after filming we believe we had made something that the audience wanted and that we could be proud of. After showing a few viewings, they agreed - and if this was a real distributed movie then our tense market research would of paid off. Intrinsically, we looked at particular shots and tempos in shots to ensure we kept the audience engaged enough to carry on watching, and - as any other creator would want - carry on always wanting more. This is the key to a thriller; engaging the audience with mysteries but rarely providing an answer - something we found very difficult to do, as I know I would be annoyed if my questions were never answered!
6) Technology was a huge part of the production from the preliminary practice to the end product; before this assignment, I didn't even know how to use a video camera efficiently, let alone to broadcast quality. I learned about the different components of cameras, what they do and the importance of quality colour capture. The group used the tracks and tripods for cleaner, sharper shots, but there were also broadcast microphones available and various types of cameras. We had a few lessons on the technicalities of Media, and it proved a great help. I also learned how to use a Mac and transfer data for editing and stitching from the camera - I found Apple Macs irritating to use, as I have been taught the Windows operating syestem from an early age, but this was a learning curve that I eventually got through with pride. I also learned the importance of manual filming - in this day and gae it's very rare that anyone does anything with technological aid, and so meeting that supposition halfway with the camera was a good but strangely challenging experience.
7) In the beginning, our preliminary was misunderstood, crude and ignorant of difficulties. After a bit of practice, the group began to realize that it was not as easy as it looked. From the start we have worked hard to develop our shot skills, use of technology and narrative approaches. In the planning and story-board stages, we struggled to make the shots fit into our time allowance, but we soon calculated it all. We had to research into lengths of shot to appeal to the audience without boring them, whilst still delivering the intended effect of the shot. In the entire process, we learned how to use the various technologies efficiently, and got better with experience. We also learned the importance of casting and the restrictions in production values. Everything we failed at developed into something better. The only thing I can say we still struggle to learn is exactly how they do this in the reality of film - we struggled with two minutes, so the real producers, directors and actors deserve every ounce of respect when filming many hours on a tight budget, and I, personally, sorely underestimated the difficulty in this task. Gaining influence from these experts, we learned more about identity and defamiliarization in thrillers and their effect on the viewer and its commitment to the conventions.
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