Magazine Reviews

Magazine reviews tend to have very similar formats - set out clearly in columns; with a large title (subtitles are often used on full page spreads), stars indicating the amount the magazine rewarded the film and at least one photo. Empire Magazine and Rolling Stone movies are two well-known examples, though most magazines feature some links to film. They tend to be very clear, with smart black text and a subtle background; as well as often being written in a chatty, conversational tone. Reviews tend to be done in the style of the magazine, rather than the style of the film - though they are still presented so that the genre is clear to its reader. Although this if often the case, however, it is somewhat dependent on the success and type of film. 

Short films, rather than mainstream movies, are often only a few lines long or a paragraph in length. Feature films can take up two or more pages and go in to more detail and, in some cases, have an interview from one of the actors. Photos (posed, from behind the scenes or on set) can take up entire pages and are used to capture the excitement of the film. 

Rough Cut

I edited together my current selection of chosen clips so that it was ready for the Rough Cut Deadline for feedback before the finished piece. I had to leave blank sections of film to indicate where there would be additional clips, but I hoped that, with this in mind, there would be enough footage to give an indication of what I am moving towards and the general narrative of the film. There are still changes I need to make to the film as it currently stands; including re-filming and editing in new speech for the first section (the conversation between Helena - the bartender - and the customers). I intend to re-record the backing noises from the pub and the various conversations going on around them and playing an entire section of the sound recording next to the (newly recorded) section of script. If I can do this successfully, I will be able to solve the problem of the constantly re-emerging and uneven background noise.

To make the film more convincing and visually interesting, I am hoping to make some of the colours more intense. These changes have not yet been made, and I will need to spend some time looking at videos and discovering the best way to do this; as I think that this was one of my main weaknesses in my AS piece.

FEEDBACK

In a sentence, sum up the outline of the film.

Poster - Practise

In preparation for our Ancillary Task Practice, I drew out the title to mine and Evie's 1960s style film poster, The Month of May. We wanted the font to be unused so that it would help to create a brand for our movie, and edited this later using Photoshop so that it fitted in with the overall look of the photo. 

This was our favourite photo from the shoot. We styled Evie's hair in a traditional style and used eyeliner to create eyelashes to match Twiggy's iconic look.

We based the practice on the Breakfast at Tiffany's poster from 1961 and kept the genre as a romanic comedy and musical.

Fat Cat Filming - 02/01/13

The conference room of The Fat Cat was an ideal location for the scene with Damien and William because it had exactly the right pallet and feeling for the conversation. My actors set up the chess set so that it was ready for Damien's victory; and we discussed and rehearsed the scene before I filmed it, so that any movements would take place at the same points in the conversation. This would make it easier to edit and lower the chances of making a mistake or causing an inconsistency.

I wanted the audience to feel like they were being brought in to the scene as the events are explained and their understanding of the film becomes clearer. I attempted this by filming the conversation so that the shots become closer to the characters and the chess board as the scene progresses. For example, when Damien mentions William transforming (in to a wolf) and when William suggests that he wants to take the cloak for himself.

After the Fat Cat, I planned to film the sections with Robin, Helena, Damien and William in the woods. This was a big mistake because, by the time we got to Thetford Forest, it had begun to get dark; it was raining; and I couldn't get the camera to focus. Although we had to leave after only an hour of filming, it had meant that we'd been able to get an impression of the amount of space we'd be working with and what props would work. I'm intending on filming these sections (along with Lettie's death) during the half term. Jack (Robin) has got permission for us to use the area of woods that his family owns, so we can use this location for ease of travelling, for a much more suitable area (with no additional features), and without the risk of getting in the way of the public. I'm also intending to go much earlier in the day to avoid the problem of darkness; though I will need to edit the shots so that they look as though they were taken in the early evening and middle of the night.

Grandmother (Flashback) Filming - 29/12/12

Although I hoped to film this section in one long shot, I decided to film the scene from lots of different angles because I'd had no opportunity to rehearse and make sure that this was possible before hand. There are two advantages to having it as seperate clips: I could edit it together and make it fast-paced and accurately timed with the narrator's explanation of events, and I could avoid the location problem as much as possible. The biggest issue with this section of the film was that I had no better place to film it - my original plan (in one shot or many) was to include lots of close-ups of the characters and props so that the scene would have a dream-like quality. I wanted to clearly arrange it in a different way to the rest of the film so to indicate that this was a flashblack from long ago. The background in some of the shots (mostly during Zachery Bohun's lines) is quite unconvincing. I'm hoping that the audience feedback for my Rough Cut will reveal the audience's opinion of this scene. Having been filmed in my kitchen, I was able to decorate the table but was unsure how to solve the look of the walls so that it was more consistent with the style of the rest of the film. One thing I am hoping to do when I edit the scene is to adjust the lighting and try to disguise the pattern of the tiles. If this does not work, I can consider re-filming the shots from that angle in a different location, so that it all looks like one room.

I am dissapointed that I was not able to carry out my original plan, as this would have offered a much more obvious variation from the rest of the film. If I had the chance to spend more time preparing for this, I would love to invest more time in to this so that it would match my initial vision.

Finished Script

FADE IN:

EXT. STREET CORNER – DAY

SCARLETT (LETTIE) AUVRAY is walking along silently. She wears a distinctive red cloak, and basket on her arm. She is approached by a figure (DAMIEN BOHUN), who is immersed within darkness. He hands her a single white rose.

OPENING CREDITS

EXT. STREET – DAY

Lettie has the rose tucked in her hand. She opens her hand to inspect it and, horrified, notices that the flower is dripping with a liquid like blood. Lettie jumps in shock, and sends the rose gliding through the air. Unbeknown to her, it falls gently in her basket. She walks on, in a nervous hurry.

The Green Dragon pub can be seen opposite her.

CUT TO:

INT. THE GREEN DRAGON – DAY

HELENA AUVRAY, the bartender, is conversing with customers as she collects their empty drinks. She appears quite comfortable, though rushed off her feet.

Within the crowd of customers, ROBIN FINLAY sits. He appears to be entertaining a small crowd, and appears to have had a few drinks. Around him, they are laughing, partially at his expense, but as friends.

FRIEND

Hey, didn’t you say you were working today?

ROBIN

Helena knows I don’t work! I said I’d clear up a few drinks, but to some extent…

He finishes the drink in his hand.

Lettie emerges through the door at this point, unsettled. Throughout Helena’s discussion she can be seen readjusting her clothes and trying hard to remove the stain left from the rose. She is currently trying not to be noticed.

The customers at the table Helena stands at are looking anxiously across to a man (ZACHERY BOHUN) seated in the corner. He has a crazed expression on his face, has clearly been drinking a lot, and wears a large and expensive-looking navy coat and top hat.

Lettie appears to be listening in to Helena’s conversation.

HELENA (nodding over to the man)

Been coming here for the last couple of nights – can’t figure out why… he doesn’t exactly fit in.

But then again, we’re all outsiders here.

CUSTOMER (anxiously muttering under their breath)

He keeps saying he wants to talk to you.

HELENA

(Out of his earshot; with a raised eyebrow and a grin, and not quite aware of the customer’s response)

Well, gives the place a certain edge.

CUSTOMER

You know who he is don’t you? He’s Zachery Bohun… of course, he lost his status since then, but the other Bohun’s are still incredibly powerful. He’s not here just for a catch up and a drink.

Helena, currently hunched over the table, straightens up and looks blankly and anxiously across the room. The man (BOHUN) turns his head to face her.

ZACHERY BOHUN

(Getting harsher and quieter with each line, and pausing between them)

The hourglass has been tipped.

The old Witch has had her day.

For the one that’s wearing It - the rose… wilts.

He sniggers.

From a distance, Lettie looks confused, shocked and frightened.

Almost instantly, Robin notices Lettie and approaches her with a jog in his step. He picks her up in a hug and spins her around on the spot. By the time he pulls away, Lettie has adjusted the look on her face. Robin continues to joke and play up to the crowd, gesturing dramatically, but with true meaning in his words.

ROBIN

Scarlett! Here she is, my beautiful fiancé!

He keeps hold of her hand and bows towards his friends.

Helena, upon noticing Lettie, walks across to the bar and nods contentedly as though to call them across. She looks concerned, almost to the same level as Lettie; as though hiding a secret.

HELENA

Drink?

LETTIE

(Quietly, though attempting to sound laid-back and relaxed)

Definitely.

Lettie looks across to the man, apparently nervously considering his words to Helena.

LETTIE

          Actually… I’ve got to go.

Helena looks alarmed but knowingly as Lettie quickly rushes out of the room. Robin looks positively flabbergast. He seems unsure how to respond.

ROBIN

Lettie – Come back!

Helena steps up and takes a jacket from a cloak hanger near the door that Lettie just exited.

ROBIN

Helena…?

HELENA

(Yelling above the noise of her customers)

Everyone out! Pub’s closed. Find somewhere else to go.

Robin rushes over to join her. Helena whispers to him, her eyes darting back and forth from Zachery; attempting for the meaning of her sentence not to become evident. She can be heard, only just, over the rush and sound of customers’ movements and complaints.

Robin – I think my Grandmother was right.

CUT TO:

FLASHBACK

EXT. GRANDMOTHER’S COTTAGE – EARLY EVENING

Figures emerge as silhouettes behind a blank canvas. One, a woman, stands just before a man wearing a cloak. The image could almost resemble what is seen through a window. As the camera lingers in on them, they become real.

Both are young. The woman, Helena and Lettie’s GRANDMOTHER has shocking red hair; carefully divided in to ringlets. The ancestor of the BOHUN family, Zachery, is dark and handsome. He appears strong-willed and glaring yet courteous. The cloak he wears is red. He dominates the scene, although the Grandmother holds with her a quiet and secure confidence.

ZACHERY BOHUN

They are coming for you as we speak. And I have great influence over their direction. If you were to do as I say, I could protect you.

He removes the cloak from his shoulders and hands it to her.

Turn the cloak in to an item that exceeds all value. An object that will protect me and my family. A magical artefact that people will fear.

So that they will never hope to cross us.

GRANDMOTHER

They will cast me from my home. I will do as you say, but I warn you of the consequences were you not to follow back on your word.

ZACHERY BOHUN

(in a bored, disbelieving tone; and already standing up to leave)

I would expect nothing less.

GRANDMOTHER (nonchalantly)

Then let it be at your own risk.

Zachery Bohun exits.

HELENA (O.S.)

If she refused, the witch hunters would take her at an instant. If she stayed, and if the man was true to his word, she could remain in her home.

The cloak is bewitched by the Grandmother, and taken by her a day later. As she goes to meet Zachery, who stands expectantly, she hears the angry buzz of a crowd. She leaps behind him, and vanishes before he has had the chance to fully turn to face her.

She is then stood alone at the entrance of some woods. She looks unsurprised as she stares in the distance, awaiting her new life.

HELENA (O.S.)

She had to search for a new life, hidden from the world. She settled near the woods, and was forced to stay there and live or join the villagers and die.

Multiple people from across the village stand angry and bitter, in the spot that the Grandmother had just left; each with weapons in hand.

CUT TO:

EXT. THE GREEN DRAGON – DAY

Robin and Helena are walking away.

HELENA

She always said he’d be back to get his revenge.

CUT TO:

EXT. STREET/FIELD/COUNTRY ROAD – DAY TO NIGHT

Robin and Helena travel nervously, in search of Scarlett.

EVENING

At one point, as they reach a field (well on the way to the desired destination), they have become unbearably tired. Unsure whether they are in reality or dreaming, they notice a figure seated just ahead of them; and although near a field, he is sat within what appears to be a very simple living area with chair, coffee table (globe stood upon it) and multiple books; one of which has been reading intently. As he looks up from it, he gives a look that suggests he has been expecting them. The man, DAMIEN BOHUN, smiles graciously as he hops off the seat and twirls in a spiral before offering his hand in welcome; which they both take, in turn.

DAMIEN

Welcome, Travelers! Do you need some direction?

ROBIN (thickly)

We’re not sure quite where we’re going -

DAMIEN

Ah, well I’m not sure any one of us knows where we’re going. The right path is merely the one we chose to take.

He takes out a badge with the word, ‘Tour Guide - Damien’ printed across it, and places it on his jacket. Straight away he begins to walk, just ahead of Helena and Robin.  

DAMIEN

Let me introduce you to the finest sights that the area has to offer…

HELENA (impatiently)

We haven’t got time – have you seen a girl wearing a red cloak?

DAMIEN (ignoring her)

It looks as though you two need a rest. So perhaps a Hotel? No, no… so rude of me not to first consider a meal. A feast! Or fiesta! You both look utterly exhausted; the energy will do you well.

He turns round a corner to reveal a beautifully decorated area of land with ribbons and portraits and lanterns hanging at different heights. They can hear music and movement swarming in from a well-lit path leading out of sight, which Damien begins to edge towards. Helena and Robin can sense something exciting and magical only footsteps away.

DAMIEN

I can smell the roast; clearly the goblins have been hard at work…

Come along, and join in!

One long and swaying shot from behind Robin and Helena follows back through the trees as they suddenly start to hear sounds of running. The sounds made by Damien rustling through the leaves become a different sound, the sound of someone scrambling more urgently. Robin and Helena look frightened; Helena with tears in her eyes. They stand, perplexed, motionless and alert to sound.

CUT TO: FLASHBACK: Lettie running through the woods. She screams-

Though it can only be heard when the image becomes Helena and Robin again.

ROBIN

She’s in danger!

They both shoot off in to a different direction, further in to the woods; fear bringing them to life.

CUT TO:

EXT. WOODS – NIGHT

Lettie is in the distance, walking calmly. The red of her cloak is vivid against the dark, motionless setting.

She then begins running as she spots something off screen from behind her. She tears off the cloak and leaves it behind, neglected. The screen is a blur as she urgently rushes through the maze of trees. Sounds from all angles erupt alarmingly as she scrambles through leaves and gaps in branches. Lights flicker from either side of her, slowly edging nearer and faster as though catching her up. The cloak takes on distorted forms as though possessed by an evil spirit. When the lights stop, she lunges uncontrollably in to the darkness.

A close up then shows her hand (nails painted pearl white) as it hits the floor. The contents of her basket hurdle across the ground. The rose – now red – glides across the floor. She is completely immersed within darkness.

In the distance, a bell echoes through the night to signify its reaching twelve.

NIGHT BECOMES MORNING

CUT TO:

EXT. EDGE OF THE WOODS - MORNING

Helena and Robin hurry through the woods, terror struck upon their faces, only to hear the whimpering of someone, hunched out of site, and gravely ill. As they rush in view, they see WILLIAM FLETCHER, trembling with immense pain.

WILLIAM

Go – to – Damien – Bohun

=

You’re – too – late – for - her.

Helena’s eyes widen in hurt hatred, somewhere between immense pain and maddened repulsion. Robin looks utterly bewildered for a second, before his expression changes to the deepest form of anger. The camera sweeps in the direction of the sky; and then fades in to black.

An evil glimmer of satisfaction emerges in William’s eye as he foresees his own revenge.

CUT TO:

EXT. COUNTRY ROAD/FIELD/STREET – DAY 

Robin and Helena travel. They trudge forward, only with the motivation of a need for revenge; though their dragging feet and falling posture indicative of having no intention or real desire of doing harm.

ROBIN (with deep loathing)

The Bohun Estate.

CUT TO:

EXT. BOHUN ESTATE – DAY 

Helena and Robin approach to find Damien quite at home. The cloak is tucked in his arms. Robin looks as though he is about to be sick.

HELENA

How can you stand there?! How can you summon the strength to stand there after what you have done?!

DAMIEN

What? For taking what is mine? Was the cloak not supposed to be in the Bohun’s possession all along? Was it not stolen by your conceited Grandmother? It was never supposed to be your sisters’.

He takes the hood of the cloak in one hand and holds it high, so that it hangs limp and lifeless.

CUT TO: FLASHBACK: Villagers furious at the sight of Zachery, without the witch. Then thirty year later, sat in Helena’s pub.

DAMIEN

I did what I had to do to regain my Grandfather’s status; after your conceited Grandmother left him humiliated.

HELENA (screeching furiously)

No! He went back on his word; the witchhunters’ came after her.

DAMIEN (ignoring Helena’s statement)

I am glad that you followed me here. I wish to communicate a truth.

CUT TO:

FLASHBACK

INT. UNKNOWN - MORNING

WILLIAM FLETCHER is seated in a dark room, full of empty, neglected space. He sits on an old wooden chair, a table in front of him. He looks almost bored. DAMIEN SALLOW, a sinister grin on his face, is sat opposite him. They are half way through a game of chess.

WILLIAM 

What makes you think that I have any interest in

labouring myself?

DAMIEN 

The cloak is enchanted with powerful magic; but of no value that exceeds the amount that getting it back for my family would be worth. Not only would it make me popular, but rich. I could offer you anything.

It’s a full moon tonight. All you have to do 

is wait by the woods to transform.

Damien gets up immediately and leaves.

WILLIAM 

But what makes you think that I would prefer

riches,

CUT TO: FLASHBACK: Shot of Lettie in the pub, carefully brushing the cloak with her hand.

when you’ve given me the path to something more valuable?

CUT TO: FLASHBACK: Lettie running through the woods. Then Helena and Robin stood with Damien, looking awe-struck.

DAMIEN

I thought your own selfish desires would tear you away from reality.

CUT TO:

FLASHBACK

EXT. WOODS – NIGHT/EARLY HOURS OF THE MORNING

William turns away, and immediately wraps the cloak over his shoulders. He walks elegantly, proud and tall for a moment, until an invisible force seems to seep through his chest. Looking unbearably sick, he tears off the cloak and deserts it as he leaps towards a tree, clinging on to it for support. His knees give way and he tumbles to the floor.

Damien arrives to find him, a while later. William is now keeled on the floor in pain; his face contorted with panic and exhaustion. Damien looks unconcerned and reasonably unquestioning. He pauses for a second, and looks at William earnestly as he reached for the cloak with his left hand. With his right, he gently tips his hat and bows respectfully; before giving a silent laugh and walking on.

CUT TO:

EXT. BOHUN ESTATE – DAY 

DAMIEN

The cloak isn’t what you think it is. After what happened to him, I could tell. Your Grandmother went-

CUT TO: FLASHBACK: Cloak being cursed.

HELENA (aware of his words, and bitterly)

Back to it and cursed it. So the Bohun’s would get their comeuppance if they ever returned.

Damien gives a proud and sinister grin.

DAMIEN

And I wont be the fool.

ROBIN

(tearing in distractedly; hurt and angry. He slurs his words as though he were drunk)

You are the reason why she’s gone! Why she was – killed.

DAMIEN 

(suddenly looking incredibly shaken)

Killed?!

He was supposed to panic her, to knock her

unconscious. She was never supposed to be killed!

…

She had the blood of a witch; she could have protected herself. 

Though Robin’s expression remains unchanged and threatening, Helena’s expression turns to look almost sympathetically at him; and offers him an explanation. Before she can speak, she is forced to take a seat on the cold rocky surface leading to the Estate.

HELENA (in a stammer)

Neither of us has ever practiced witchcraft… it was too dangerous.

DAMIEN (in a whisper)

Then how did you find her? I saw it, she delivered you a message.

ROBIN (through gritted teeth, his eyes narrowing)

Fear leads you to do extraordinary things. I guess you should know that.

HELENA (slowly)

And as you said, the power to do so was in her blood.

CUT TO: FLASHBACK: Close-up of the cloak, worn by Scarlett, and blood red. Again she breaks through the trees with incredible fear-endorsed speed.

CREDITS

CUT TO:

EXT. BOHUN ESTATE - NIGHT

Damien stands alone. He places the cloak around his shoulders and jumps from a tower. It glitters in the moon’s rays.