Filming Locations For Shere Vice

The first location we are going to use for the filming is a house. We have established that we are going to use a girl in our groups house who lives about ten minutes from our main filming site in Shere. We're going to use Mariellas home to film the scene where the postman passes the poison in a letter through the flap of the door and the unknown man recieves the letter and the journey begins to the restaurant. We have spoken to the girls dad who has agreed for us to film at their house, it was very important that we did this as it would be terrible to get there on the day and be told that we can't film.

The Second of our locations we need when we're filming is a busy street, on which we will film one of our passovers. The passover taking place on this street is the one between the biker man and the young thug. Here the thug will be walking down the busy street and the biker will knock into him accidently and the passover will subtly take place. We are still not certain where we want to film this scene. We could fim it at school or we could take a trip to guildford to a shopping street where we could film it however the later will take time.



The third of our locations is the William Bray Pub owned by the father of one of our group members. Here we will film the main poisoning scene which includes the kitchen scene and the restaurant scene so this will be our main site of filming. We will also use the outside of the William Bray to film the cafe scene which will save us a considerable amount of time as we won't have to find another location to film it elsewhere and disrupt another business with our filming. We have spoken to the owner of the pub and got his permission to film at the pub however we must speak to him again soon to establish times to film as we want it to be the most convenient time for him.



Narrative Events: Updated

The thriller starts with a man delivering a letter though a home letterbox.

The letter has the poison in it and the audience will begin to recognise that this is an important passage as it makes its journey. The man inside the house then goes to the window to check who the man delivering is and see's that he has gone before returning to the door and bending down to pick the letter up. He picks the letter up and leaves the house

. As he is leaving the house, a few steps down the road, we see the ‘spy’ behind him getting into his car, and leaving the location, this is over the shoulder of the man holding the package, showing that he has not seen it. He then continues on to a café further down the road, but in sight. The man carrying the parcel nears the café and joins two elderly men playing cards, before anything is said; he slides the envelope across the table to the man on his right. Then an on comer (random man) passes behind the elderly man whose just received the envelope. The elderly man lowers his arm with the envelope in it behind him and the on comer takes it out of his hand. He then turns a corner onto a busy street.

The camera then flicks from the guy walking along the street to the spy driving in the car. Cutting back to the street shop, a man dresses in leather starts to approach drawing closer to the man with the package. Until they purposely collide with each other suggesting a pass over. The camera then follows the man dressed in leather near to his bike, mount it and drive away. Camera follows the road that the bike is on.

The camera crosses cuts again to the ‘spy’ leaving his car and entering the restaurant. The camera follows the man through to the restaurant, sit, and a waiter approach and take his order.

Camera then cuts back to the man on his bike turning a corner down a back alley; he dismounts his bike, and approaches the back entrance to what appears to be a restaurant. He enters a kitchen area, being greeted by a large cook, through a handshake, the envelope is exchanged.

We then flick back to the spy walking into the restaurant. He walks into the restaurant and is given a seat at his own table. The waiter comes and takes his order and then goes to the kitchen. The chef is in the kitchen organising all of the food and we see him put the poison on top of the food when it’s cooked. The other cooks aren’t aware of this, as they don’t see. 

The waiter then collects the food from the kitchen and serves it to the spy. The audience can then see him eating the food. In the corner of the spy’s eye he can see the chef and realises that he shouldn’t eat anymore because of the facial reaction he was given and attempts to stand up. He can’t make it and his vision goes all blurry and we see this through the camera use. We end our prelim with the title appearing after its blurred.

The Issue With The Shop Scene

The opening of our title sequence begun in a corner shop where the man was going to buy himself some cigarettes in which the poison was located. However there was an issue that we recognised and tryed to address, this was that we could not get permission to film this scene in a shop as we were essentially disrupting their bussiness and it was easy to understand why they wouldnt want us to use their shop.

Whilst trying to get around this issue one of our group members suggested that we set up a shop in the studio with the help of the set designer however imediately there were holes spotted in this idea as we would not be able to make it look like a working shop as we would need lots of food and magazines, cigarettes etc. to make it look realistic. However the fact that we were trying to address this quite frustrating situation was really positive. Here were some of the other ideas that we thought of:

- Picking the poison up from a small flat.
- Starting with a standard change over between two people
- In a briefcase being delivered
- The poison is posted within a letter through the post of a home

After brainstorming more ideas for a lesson we finally came up with an idea that we all liked and that we could see no reason that we could not or should not be able to film it. We chose that the sequence would begin with the letter throught the post of a house.

The camera shows the mail being delivered at the mans house. The man picks it up, walks to the window and peers out behind the curtains to ensure that the post man has gone. He then hurriedly puts his coat on and leaves the house. As he is crossing the street with the letter the cross over happens and the main character (the spy) is seen getting into his car. The camera then continues to follow the man with the letter to the cafe where the pass overs begin.

Narrative Events and Basic Camera Work: Updated

As we were not able to film in the corner shop we had to rethink and adjust the beginning of the title sequence. Consequently we had to re write our narrative:

• Over the shoulder shot of the post man approaching the door and posting a letter through the flap.
• Cuts to the opposite side of the door inside to see the letter fall to the floor using a close up
• Cuts to over the shoulder shot of a man standing at the window peering past the curtains, watching the post man leave through the gate.
• Camera follows the unknown man to the door where he stops and looks down at the letter.
• Imediately cuts to close up of the mans feet next to the letter, he bends down to pick it up
• The man then leaves the house with the letter, displayed by an over the shoulder shot that shows the door slam shut behind him.
• Wide shot of the man crossing the road suspiciously with the letter in his hand. However behind the man there is the spy getting into his car (crossover point). Both men are oblivious of one another.
• An over the shoulder shot shows the man approaching a cafe coffee table where two old men are sat playing cards, they greet the man and he sits down with them.
• Wide shot shows the three men sitting at a coffee table.
• Cuts to close up of the unkown man passing the letter across the table to another old man.
• Cuts once again to wide shot of the old man passing the letter behind him to an oncomer. This oncomer is a young thuggish looking man.
• The thug walks onto a crowded street surrounded by lots of people. An over the shoulder shot of the thug portrays a biker man in leathers. The biker is in focus but all the people around him are out of focus, this ensures that he stands out.
• Cross cuts to the spy on his was to the restaurant. Wide shot of the car passing, short time in the frame.
• Cuts once again to the view of the spy from the drivers seat of the car looking over the bonet (filmed with a go-pro camera).
• Changes back to the passover taking place on the busy street between the biker and the thug. Mid shot shows the letter pass from the thug to the biker, who imediately puts it in his leather acket pocket.
• Over the shoulder shot of the biker shows him walking towards his motorbike which is in focus.
• A mid shot of the biker as he accelarates off on his bike.
• Cross cuts back to wide shot of the spy walking into the restaurant showing his car parked behind him.
• Mid shot shows the spy being shown to his table and sitting down.
• Over the shoulder shot of the waiter walking towards the spy sitting at the table.
• Cross cuts back to the biker entering a back ally on his motorbike with wide shot.
• Mid shot of biker walking through a door at the back of the restaurant
• Wide shot of the biker being greeted by the head chef of the restaurant. The biker withdraws the letter from inside his jacket and passes it to the chef, leaves.
• The chef walks to the counter in the kitchen where all the freshly cooked food is. This is shown by another wide shot.
• Extreme close up on the envelope as he opens it up and removes the tube of poison.
• Close up onto plate of food as the chef pours the crystals (poison) onto the food.
• Wide shot shows the waiter swiftly pick up the plate of food and walk through the kitchen doors out into the main restaurant.
• Mid shot shows the waiter placing the plate of food onto the spys table.
• Close up on the plate of food. The food is in focus evrything around it is not.
• Mid shot of the spy taking his first mouthfull of the food. The camera follows the food into his mouth.
• Mid shot shows the spy look up at the chef standing at the counter as he realises something is wrong. The chef smirks at him and turns to go.
• Cuts back to mid shot of the spys face showing his sudden distress.
• Wide shot from the spys point of view shows his vision go blurry and he passes out.
• Titles begin to come up.

Plot of Narrative: Group Post

The thriller begins with an Elderly man (late 50’s) entering a corner shop. There is a stereotypical shopkeeper working behind the counter. The elderly man asks to buy some cigarettes. The elderly man walks out of the store with his cigarettes in hand. He then opens the packet to see a small glass tube in the place of one of the cigarettes. He smirks and walks on.

The elderly man approaches a local café, where there are two other men of a similar age and character to him sitting outside at a table playing a game of cards. The two men stand up and greet him in a cheerful fashion. The elderly man removes the packet of cigarettes from his pocket and takes a cigarette for himself, he then reaches out his arm and offers another to one of the men, the man obliges then takes out the glass tube. He then passes the tube to an on comer behind. The on comer is a young man. He takes the tube from the elderly card player and walks on.

The young man turns the corner onto a busy high street. He walks along the street surrounded by lots of people, and abruptly knocks into another middle aged man dressed in a black leather jacket holding a motorbike helmet. The young man slips the tube into the biker’s pocket and apologises for the clash. The biker turns and walks on showing little sign of anger or any emotion.

He climbs onto his bike and puts his helmet on, shuts the visor and drives off. The bike speeds down the road and takes a sharp turn into a back ally. He gets off the bike and walks through an open door into a kitchen with chefs working franticly. He approaches a large black man dressed in white overalls. The chef recognises the man and greets him with a hug and a noticeably smug look on his face. The biker then reaches into his leather jacket and withdraws the tube. He hands over and turns to leave, smiling.

The chef walks over to the plate of food, opens the tube and pours the content onto the food. The waiter takes it from him and walks out the doors of the kitchen into the restaurant.

He approaches a man alone at a table and gives him his food. The man thanks the waiter and he turns to go. Man begins to eat food, he begins to choke.

Narrative Action For Thriller: Group Post

·        Elderly man (late 50’s) enters a corner shop (bell rings above door) You see the shopkeeper working behind the counter (stereotypical corner shop keeper).

·        The elderly man asks to buy some cigarettes (puts money on counter).

·        He walks out of the store with his cigarettes in hands.

·        Once he is outside the store, he opens the packet and sees a small glass tube in the place of one of the cigarettes.He smirks and walks on.

·        The elderly man approaches a local café (shot of café).

·        There are two other men of a similar age and character to him, sitting outside at a table playing a game of cards (you see the old men, with a drink and cards on the table).

·        The two men stand up and greet him in a cheerful fashion (smile and shake hands).

·        (man sits down) man removes the packet of cigarettes from his pocket & takes a cigarette for himself, (he then reaches out his arm) and offers one to one of the men on the table, the man obliges then takes out the glass tube.

·        He then passes the tube to an on comer behind him (puts arm behind his back and man walks past and takes tube).

·        The on comer is a young man (you see his face). He takes the tube from the elderly card player and walks on (men carry on playing cards).

·        The young man turns the corner onto a busy high street (lots of people everywhere).

·        He walks along the street surrounded by lots of people, and abruptly knocks into another middle aged (pretend they don’t know each other) man is dressed in a black leather jacket holding a motorbike helmet (under his arm).

·        The young man slips the tube into the biker’s pocket (close up on the pocket) and apologises for the clash.

·        The biker turns and walks on showing little sign of anger or any emotion (men carry on walking In opposite directions like nothing happened).

·        Man climbs onto his bike, puts his helmet on, shuts the visor and drives off. The bike speeds down the road and takes a sharp turn into a back ally (focus on man and the bike)

·        He gets off the bike and walks through an open door into a kitchen with chefs working franticly (man walks quickly and determinedly around the back of the kitchen)

·        He approaches a man (large blackman dressed in white overalls.) The chef recognises the man and greets him. (Greeted with a hug and a noticeably smug look on his face.)

·        The biker then reaches into his leather jacket and withdraws the tube (E.C.U on pocket). He hands over and turns to leave. (see chef and biker both smiling.)

·        (While still smirking) the chef walks over to the plate of food, (ECU on tube opening) opens the tube and pours the content onto the food (final shot of food before it goes out to customer)

·        The waiter takes the food and walks out the doors of the kitchen into the restaurant (pushes through doors quickly and suddenly the speed slows down and everything is more relaxed. Classical music playing in restaurant)

·        Waiter approaches a man alone at a table (see man at table with glass of red wine and phone) Waitor puts down food on table. The man thanks the waiter (waitorturns around and leaves man to eat).

·        Man begins to eat food (POV shot of mans reaction to poison) he begins to choke.

Sherlock Holmes Poisoning Scene

This has given us inspiration to not show the audience the poisoning of the food, until after, when the spy had been poisoned and is beginning to feel the affetcs. Visually like a flash back. This could be a twist and would help the audiences understanding of the situation, so that at first the audience do not understand why the spy is dying, until he has a 'flash bulb', 'flash back' type imagery, explaining why he is being poisoned.

James Bond Casino Royale Poisoning Scene

This is inspiration, for an idea to use a series of cross cutting from the chieff poisioning the spy, to the spy realising, to the spy fleeing. It is a series of reaction shots, that we may use in our opeining title sequence , to add tension, and elonginate the realisation of the man that has been poisioned. Out idea taken from this is to have the cheif in a corner of the room, or behind the till, waching him eat the food,and then the series of reaction cuts, after the realisation that the spy has been poisioned

Storyboard

Updated Storyboard for Shere Vice

Guidance Discussion

Today we had our second production meeting as a group, but our first that including the teachers.We told our teachers our ideas for the thriller sequence, and they gave us guidance on which is best, and what rout we should think about going down. We have decided to either use the 'Wanted poster' idea or the 'Poisoning the well dressed man' idea. We have been building ideas for them.

 The other ideas we were guided to reject because they where either similar to one that had been done in the past, they where too difficult to film in a day (the diving idea), or they were too cliché.

We had a 5 minute discussion on the poisoning one, and we where thinking that the poi singing would be the very end of the sequence, and the rest could be building up to it. Meaning so the audience would be following the tracking of the poison being passed around, meaning from motorbike, to car, to pedestrian to chief,or something. We where thinking of almost making a sequence of path that the poison would take, like a undercover mission to kill this random well dressed man that the audience know nothing about. Almost to set the genre as a thriller.



Pitching Thriller Storyline

Today in class we proposed four ideas to the media technicians Adam and Matt. These four ideas we had narrowed down from sixteen in total. Initially each member of the group developed four rough ideas: we had our first production meeting and narrowed this down to four ideas that we developed slightly further in the production meeting. Today the technicians wanted to discuss our ideas for the first time and aid us to build on some of those ideas or in some cases give some constructive critism and tell us that one of the ideas was completely unreailstic in terms of filming. All of this constructive criticism i feel really helped us as a group as we were able to see other peoples perspectives on our ideas and what they thought we could do better.

We pitched our ideas to both Adam and Matt, both of whom have very different preferences when it comes to the style in which the storyboard is written. Matts preference is fast paced action packed thrillers whereas Adam is more favourible towards very realistic, simple plots. Having both these views meant that we were left with two storylines that were quite action based however Adams poibt of view kept us thinking that we must be realistic and not stupidly overcomplicated when theres really no need for it. After The meeting, having taken into account the thoughts of the technicians we sat down and tried to decide what we, as a group thought was the most original and favourable plot that we had come up with out of the four.

We decided against using the deep sea diver plot. The actual story itself is interesting and could have been very different to others. However after thinking about this realistically we decided that it would be too complicated to film in the amount of time we had been given, especially as it was underwater. Also the fact that this was only an opening title sequence and that there would hardly be a good story following this event in the title sequence.

We then discussed the storyline about the girl runnning through the forest going home, and coming across a den where someone has documented her life through photographs, the person living here was unkown to the audience. We decided that the filming would be possible to do however it was a very average story and there was nothing striking about it that made it stand out, and as a group that is what we were trying to achieve. As a result we decided against this story as well and we were left with 'Wanted' and 'The Poisoning' (not fixed name).


Looking back on todays lesson i found that this exercise of getting a different perspective on ideas was very useful and enabled us to narrow down our ideas more effectively.