http://prezi.com/lvnowt2yjouy/evaluation/

Evaluation on Prezi

FINAL CUT

http://www.youtube.com/watch?v=bTZNaEnpCW4

Grey Blood rough cut

Working title change

Our working title was changed from A Deathgrip on Society, to Grey Blood. This change was made as reference to both the typical black and white imagery of Film-Noir, and also blood was the word used to reflect the dark themes of violence, betrayal and crime.

Animatic

Shooting Schedule

Shot Number:	Type of Shot:	Action:	Mise en Scene:	Location:
1.	Medium Long Shot.	When the scene starts door can be seen ajar, door opens to reveal shadowed man, dolly zoom used to show distortion.	Drawer, Mirror, Wooden Door, Welcome mat	Logan’s Home – Hall Way – Facing Door.
2.	Point of View shot.	This shot will be used to put the viewer in the mindset of the character walking through home after break-in. Camera will head towards stairs	Door frame, Photo frame hanging on the wall, Band on ceiling	Logan’s Home – Hall Way – Facing Stairs.
3.	Extreme Close up.	This shot will capture the character reaching into his jacket and pulling out a gun.	Gun, Brown jacket.	Logan’s Home – Hall Way – Facing Door.
4.	Canted Angle, Medium Long Shot.	This shot will show Logan climbing the stairs from above.	Same as the hallway, Incidental Music - Strings	Logan’s Home – Stair Case.
5.	Close Up.	A close up will be used to show Logan listening through the door, other characters can be seen through crack in the door.	Gun, Thug clothing, Incidental Music - Strings	Logan’s Home – Upper Hall Way.
6.	Medium Long Shot.	The camera will cut to Logan kicking the door to reveal himself to the thugs within his home, Fires at thug.	Gun, Gun noise (Sound effect).	Logan’s Home – Bedroom.
7.	Medium Long Shot.	One thug is shot in the throat and falls to the ground.	Fake blood, Poster on wall, Desk, Bed, Bible and window.	Logan’s Home – Bedroom.
8.	Close-up.	Shot is to show thug holding his throat after being shot	Fake blood.	Logan’s Home – Bedroom.
9.	Medium Close-up.	Another thug then picks up a book and throws it towards Logan.	Book.	Logan’s Home – Bedroom.
10.	Close-up.	Logan wake’s up dazed and confused realizing that he is bound to a chair, Logan is covered in blood and bruises.	Make-up, Fake Blood, Chair, Warehouse.	Abandoned Warehouse.
11.	Medium Close-up.	Shot used as a cut away to show Logan’s hands behind chair.	Rope, Chair.	Abandoned Warehouse.
12.	Medium Long Shot.	Cuts to Logan as he is hit by a bucket of water.	Make-up, Fake Blood, Chair, Warehouse, Water.	Abandoned Warehouse.
13.	Close-up.	Shot cuts back to Logan as he is hit by a bucket of water.	Make-up, Fake Blood, Chair, Warehouse, Water.	Abandoned Warehouse.
14.	Low angled, Medium shot.	Shot will be taken through Power’s legs so that the beaten Logan can still be seen.	-	Abandoned Warehouse.
15.	Close-up.	A close-up will be used to introduce Powers le Boothe.	Suit, Make-up	Abandoned Warehouse.
16.	Close-up.	Shot reverse shot between Powers and Logan.	Suit, Make-up	Abandoned Warehouse.
17.	Medium-Shot.	Show’s Power’s standing over Logan from the side.	-	Abandoned Warehouse.
18.	Close-up.	Logan’s face as he is being spoken to, dazed uninterested expression.	-	Abandoned Warehouse.
19.	Medium Long Shot.	Shot from behind Logan showing him being slapped to the floor.	-	Abandoned Warehouse.
20.	Close-up.	Match on action of Logan being slapped to the ground.	Blood, Saliva.	Abandoned Warehouse.
21.	Medium Shot.	Showing Logan on the floor, beginning to laugh.	-	Abandoned Warehouse.
22.	Close-up.	Power’s face, odd expression why is he laughing, anger.	Knife, Gold Rings.	Abandoned Warehouse.
23.	Close-up.	Camera continues to zoom on Logans face laughing.	-	Abandoned Warehouse.
24.	Titles Begin.	-	-	-

Orginisation of Actors, Props and Costumes

Actors:

Jack Bee

Ryan Kitching – Needed on all dates of shooting

Stuart Miller – Needed on all dates of shooting

Props:

Toy gun

Bucket of water

Chair

Cigars

Butchers knife

Fake blood and makeup

Costumes:

Logan: Black leather jacket

Powers: Wearing an eccentric suit, flairs of colour.

Butch: Vest

Script

Black Screen

In shot: dark hall way, low key lighting. Camera looking at door, which is ajar. The noise of shuffling is heard from the second level of the home. A slight creek is heard when the door is pushed open by the owner of the home. Character known as Logan McKenna enters the trashed house. From the floor above a thud I heard which alerts Logan into taking out his gun and investigating the noise. Logan walks up the stairs constantly observing things around him which have been trashed and thrown. Logan kicks down the door and shoots the first man in the throat and is then hit to the ground by the other man in the room. Camera fades to black

Fade in will be used with a shot focused mainly on Logan’s face covered in bruises and blood.

Powers:  Do it

A bucket of water hits Logan in the face to give an abrupt awakening.

Logan: *Spits and Coughs

Powers: So you thought you could bring down my organization, ha! Just one man. It took me years to get to where I am, and for what? For you, you insignificant little runt, to bring down this empire that I, myself created. Well… Not today *spits at Logan. I hope your ready, its gunna be a long night Logan and you aint gunna live through it.

Logan: Laughs in Power’s face.

Powers: Why are you laughing! *Slaps Logan. (To Butch) Hand me that knife!

The slap from Powers causes the chair to fall to the ground. The sound of Logan’s laughter can still be heard behind the narration 

Logan: (Narration, Non Diegetic) you wanna know why I’m laughing? What Powers doesn’t know is that I’ve got the upper hand.

Cut to black

Opening Credits cut in

Opening Credits

Power Productions Present

A Film By Ryan Kitching & Stuart Miller

A Death-Grip On Society (Working Title)

Stuart Miller

Ryan Kitching

Daniel Phelps

Co – Staring –

Robert Ash

Casting By

Ryan Kitching

Stuart Miller

Music Supervisor

Ryan Kitching

Stuart Miller

Costume Designer

Ryan Kitching

Stuart Miller


Production Designer

Ryan Kitching

Stuart Miller

Editor

Ryan Kitching

Stuart Miller

Director of Photography

Ryan Kitching

Stuart Miller

Executive Producers

Carl Percival

Sally Pickford

Story By

Ryan Kitching & Stuart Miller

Produced By

Ryan Kitching & Stuart Miller

Initial Ideas Pitch

The movie starts with Logan McKenna returning home after a long day at work, looking tired and stressed. He arrives home to find his front door is open and his home has been ransacked. Worried and on his guard Logan pulls out his gun and slowly enters the house to find 2 dirty cops searching through his living room for a specific piece of information (unknown to the audience at the start of the movie). With the upper handover the 2 men, Logan takes out the first cop with a shot to the throat, the second reacts quickly to the shot and clubs Logan over the head with a Bible and knocks him unconscious. Dazed and confused, Logan awakes with his arms and legs bound to a chair, his face is battered and bruised with a few splashes of blood coming from his mouth and several cuts across his face. Logan is then hit with a freezing cold bucket of water in attempt to wake him further. The voice of Powers le Boothe can be heard bellowing around the huge warehouse, which Logan has awoken in. Logan is told that he will not be leaving the warehouse alive, it is at this point when Logan begins to have his flashbacks showing the viewer what they have missed, the flashbacks will then lead Logan back to his current situation.

Research of Target Audience and Genre

Discrimination

The work as a whole must not endorse discriminatory

language or behaviour.

Drugs

Drug taking may be shown but the film as a whole must not

promote or encourage drug misuse. The misuse of easily

accessible and highly dangerous substances (for example,

aerosols or solvents) is unlikely to be acceptable.

Horror

Strong threat and menace are permitted unless sadistic

or sexualised.

Imitable behaviour

Dangerous behaviour (for example, hanging, suicide and

self-harming) should not dwell on detail which could be

copied. Easily accessible weapons should not be glamorised.

Language

There may be frequent use of strong language (for example,

‘fuck’). The strongest terms (for example, ‘cunt’) may be

acceptable if justified by the context. Aggressive or repeated

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 without strong detail.

There may be strong verbal references to sexual behaviour,

but the strongest references are unlikely to be acceptable

unless justified by context. Works whose primary purpose is

sexual arousal or stimulation are unlikely to be acceptable.

Theme

No theme is prohibited, provided the treatment is

appropriate for 15 year olds.

Violence

Violence may be strong but should not dwell on the infliction

of pain or injury. The strongest gory images are unlikely to

be acceptable. Strong sadistic or sexualised violence is also

unlikely to be acceptable.

There may be detailed verbal references to sexual violence

but any portrayal of sexual violence must be discreet and

have a strong contextual justification.

In line with the consistent findings of the BBFC’s public

consultations and The Human Rights Act 1998, at ‘18’ the

BBFC’s guideline concerns will not normally override

the principle that adults should be free to choose their

own entertainment. Exceptions are most likely in the

following areas:

• Where the material is in breach of the criminal law,

or has been created through the commission of a

criminal offence

• Where material or treatment appears to the BBFC to

risk harm to individuals or, through their behaviour,

to society – for example, any detailed portrayal of

violent or dangerous acts, or of illegal drug use,

which may cause harm to public health or morals.

This may include portrayals of sexual or sexualised

violence which might, for example, eroticise or

endorse sexual assault

• Where there are more explicit images of sexual

activity which cannot be justified by context. Such

images may be appropriate in ‘R18’ works, and in

‘sex works’ (see below) would normally be confined

to that category.

In the case of video works (including video games),

which may be more accessible to younger viewers,

intervention may be more frequent than for cinema films.

Sex education at ‘18’

Where sex material genuinely seeks to inform and

educate in matters such as human sexuality, safer

sex and health, explicit images of sexual activity may

be permitted.

Sex works at ‘18’

Sex works are works whose primary purpose is sexual

arousal or stimulation. Sex works containing only material

which may be simulated are generally passed ‘18’. Sex

works containing clear images of real sex, strong fetish

material, sexually explicit animated images, or other

very strong sexual images will be confined to the ‘R18’

category. Material which is unacceptable in a sex work

at ‘R18’ is also unacceptable in a sex work at ‘18’.

Film Noir Presentation

Film Noir Presentation

View more presentations from Stuey1991.

Horror Presentation

Horror Presentation

View more presentations from Stuey1991.

Seven opening sequence

Title Listings for Opening of Se7en

New Line Cinema Presents

An Arnold Kopelson Prouction

A Film By David Fincher

Brad Pitt

Morgan Freeman

Se7en

Gwyneth Paltrow

Richard Roundtree

R. Lee Ermey

John C. McGinley

Julie Araskog 

Mark Boone Junior

John Cassini

Reginald E. Cathey

Peter Crombie

Hawthorne James

Michael Massee

Leland Orser

Richard Portnow

Richard Schiff

Pamela Tyson

Casting By

Billy Hopkins,

Suzanne Smith

Kerry Borden

Music By

Howard Shore

Costumes Designed By

Michael Kaplan

Edited By

Richard Francis-Bruce

Production Designed By

Arthur Max

Director of Photography

Darius Khondji

Co-Producers

Stephen Brown

Nana Greenwald

Sanford Pinitch

Co- Executive Producers

Lynn Harris

Richard Saperstein

Executive Producers

Gianni Nunnari

Dan Kolsrd

Anne Kopelson

Written By

Andrew Kevin Walker

Produced By

Arnold Kopelson

Phyllis Carlyle

Directed by 

David Fincher