25/01 - Group Meeting 2

Decisions made:

- The idea of the party wasn't too necessary to the plot so we scrapped it, it was only to make it more contemporary which could also be done by including modern technology, up-to-date costume, etc.

- We could keep the scene looking messy due to a fight between the girl and boyfriend. This would indicate something is wrong to the audience.

- We decided that the body should remain in the same room as the room where the girl wakes up (in the living room) and possibly make him in the sequence from the very beginning. The camera could focus on the girl for the sequence which would make the audience wonder why we don't get to find out who he is (until the blood makes it obvious that he is dead).

- Alternatively, he could be partially hidden by a prop, e.g. underneath a table, lying behind a sofa, etc. Shots would have to be constructed carefully to keep him hidden. The body doesn't have to be in every shot, he could be completely out of shot for most of the sequence until the end.

- We don't think the girl would do anything too different in terms of behaviour, she could still be cleaning up and generally denying the body's existence.

Thinking about shots we could use to show the body to the audience, we decided to all sketch some ideas:


We discussed some questions:

How do we tell the audience the relationship between the girl and the dead boyfriend? Our best idea was to show a photograph of the boy and girl with the boy wearing a paticular prop (possibly a watch) and then cut to a shot of the boyfriend's prop that has been broken to symbolise the change from his life to death.

We considered where the girl should wake up at the start of the sequence and how it should be shot. On a couch? On the floor? In a chair? We think that if she started on the floor, it would be symbolic of the fact that she can't get any lower (literally and morally) so it would be best. Perhaps, later on in the sequence, there would be a shot of the girl sitting in the chair to make her look eerily calm.

At the start, to create a false sense of equilibrium, we could have a pan of several unbroken photographs of the boy and girl (on a cabinet, shelf, wall, possibly.)

We will keep thinking of ideas for shots and narrative and continue with research into opening sequences.