My target audience and institution

My target audience and the insitution for my short film

From my questionnaire I have been able to decide who my target audience is. As the characters are both girls I think that the gender that this film should attract is females. The biggest age group who answered the questionnaire were under 20, therefore the age group that I plan for my film to aim is teenaagers. I think that this gender and age group will work best for my film, as they may be able to relate to the protagonist and the situation that she's in.

The institution that I would like for my film is the BBC Film Network site. I would like this institution because it's a specialist website for short films which is why I think it would be the best one. The website has a range of genre for short films and drama was a popular one, so my film would fit in with the others that they show on the website. I think that this institution would work as I am not too sure what time that it would be shown if on a television channel. This way it can be shown at any time as the viewer would decide when they'd want to watch it. Though short films are for a niche' market, so by having it on a site which is considered new media technology. it's allow the market to maybe have the chance of broadening.

Short film questionnaire and results

My short film questionnaire

For me to find out who my target audience would be I gave out a questionnaire. From giving out this questionnaire it allowed me to find out how long they'd like the film to be, what they'd expect in a short film so I can incoporate in into mine. This is my questionnaire

Questionnaire results and what I found

These are the results that I got from my questionnaire. From the results I'll be able to find out what I should include in my short film, what type of audience I want and where I am going to show my film.

Results

Gender

I asked 10 males and 10 females, so I'd have a fair number of both sexes for the questionnaire. It would also help me with what type of gender I want my film to attract from the answers they would give throughout the rest of the questionnaire.

AgeWhen targeting my audience I need to make sure that I attract the right age for my film. The most amount of people who answered the questionnaire were under 20, therefore I plan to aim my film as teenagers. I think that this the best age group for my short film, as my film is about a girl who isn't sure who she is or what she wants to be. I think that by having this age group they would be able to realte to the character.

How often do you watch films?

I asked this question because I thought it was valid to know how often people watched films. From the question it has told me that most people see films every three months. This means that I now have a rough idea of how often people go to watch a film. It also meant how long the film could be out to make sure it is seen by the audience.

Where/how do you see films?

This question alllowed me to know how people watch film. Obviously the top two were cinema and DVD as these are the most conventional ways to watch a film. Whereas watching films online was the least favourite. These results have given me an idea of where I could show my film to my audience. Though the majority of people would go to the cinema, as the short film industry is for a niche' audience. I think it would make more sense for my film to be online so it would still just apply for that audience. It also means that if they audience wanted to see a short film, they would have to be an active audience.

What type of genre do you watch?

By asking this question it would give me an idea of what the most popular genre is and if I'd be able to apply this genre to my film. The genre that was the most popular was drama and can apply this genre to my film. Hopefully by using this genre, it will attract a slightly bigger audience.

What type of films do you see?

This question allowed me to see what type of films were watched. Of course featured films were the most watch as they're a lot easier to see, if you don't see it at the cinema you can always wait until it's on TV or DVD. Understandabley no-one goes and see a short film as it's for a niche' market. Therefore when I create mine I will need to make sure that I am targeting it.

Have you ever watched a short film?

Now what some people don't realise is that they have seen a short film, even if they think that they haven't. The reason that I say this is because there are short films at the beginning of most of the Disney Pixza films. Therefore more people have seen it, which does mean that the niche' market for short films is widening. This means that my audience could be a lot broader.

If you were to watch a short film, where would you watch it?

This question means that I will then know where I should showcase my film to my target audience. The three most popular answers were cinema, Youtube and a short film website. Now if I showed it at a cinema it would mean that more people would see it, but would my film be noticed. Probably not. Therefore I think that the best place for my film to be shown is on a short film website such as, BBC Film Network. I think that my film would fit better there, as it's the same genre and the audience would be actively looking for it.

What type of genre would you watch, when wathcing a short film?

Now I knew what genre I wanted to do my short film in, but I needed to know if it would be a wise choice for a short film. I decided that my film would be a drama. This was the most popular choice for those who would watch a short film. I think that it was the most popular choice because, it would work for a short film whilst still getting across the themes and issues of it.

What running time you most enjoy when watching a short film?

When creating my short film I need to have a clear time frame and stick to it. By having this clear time frame. This means that I know how long I have to get the audience's attention, tell the story and create a good piece of work. The most popular choice was 5 minutes or fewer. This means that my short films is going to be under five minutes.

What you would most likely expect to see in a short film

This question meant that I would know what to include in my film to satisiy the audience. The two most popular were a clear narrative and one main character to focus on. By doing this I would be sticking to short film conventions and would make it easier for the audience to understand the film. Most people wanted there to be a catalyst in the film, which I will try to include in mine. I wasn't sure as to how much action and dialogue that should be in the film. The most popular choice was an equal amount of dialogue and action, so I will plan to do that in my film.

My script pro-former

My script pro-former

After I had written each scene for my script, I needed to test it. By testing my script it will allow me to see if any changes need to be made before I start filming. By using these five speicfic questions to see how successful my script is, it'll allow me to see what importance my script would have to the overall piece and the impact that it would have on the aduience. This is why testing my script is useful. The five questions were...

1. What activity is happening and is there any conflict?


2. Is there a visual metaphor?


3. Is it the expected structure of events?


4. What and how does the scene contribute to the rest of the film?


5. What key important imagery will help with the success of the scene?

Script pro-former - SCENE 1

1. The activity that is taking place is the introduction to the film's protagonist. There is some conflict in the scene because, she is coming home from a bad day at college and is still annoyed about her day when she comes home.


2. The visual metaphor in the scene is the shot of her pouring the water into the glass. As she turns the tap for the water to run quite fast. It's a symbol of her rushed emotions as she's frustrated about what happenedd duting the day and with the people around her.


3. The expected structure of events is typical. As the audience would expect someone to unlock the door and pick up the floor when they come in, as this is most likely a daily routine for a lot of people. Also showing her dumping her bag on the floor, going to get a drink and going up to your room is behaviour you would expect a teenager. Them being alone in their own space.


4. The scene sets the tone of the film which is a tense one as the protagonist doesn't make any eye contact with the camera and is telling the audience to leave her alone. Also, this scene shows the protagonist getting on with her everyday life and isn't provoked at all, (unlike the other scenes.) By just showing the protagonist carrying on with her routine as if the camera isn't filming her, allows to give the scene a more realistic and naturalistic tone.


5. The key imagery to make this scene successful will be by the camera being handheld, which reinforces the naturalistic approach to the scene. It also allows the camera to track with her so through the representation of realism, the audience will feel like they're with her too. This will representation of relism is reinforced again through the over the shoulder shots, making the audience feel they're rght next to her. By creating emphasis that this is being seen by the audience's eyes, will be by extreme close ups such as when she turns the tap. By using this type of camera work and shots, it creates a small relationship between the audience and the protagonist, as they feel that they're experiencing the actions at the same time as her.

Script pro-former - SCENE 2

1. This scene shows more depth to the character as we're shown how brave she is. She isn't just confronting another character, she's confronting herself which is even harder. This is shown through the dialogue as she's confused about staying as she is or being accepted and being like everyone else. The conflict for this scene comes from the argument that the two sides are having. As one side is her, whilst the other is the girly version that believes she'll be accepted more if she turns to this form. By having the plain side called Ashley and the girly side called Alice, it creates a male/female conflict even though both sides are female.


2. The visual metaphor will be shown through the two different sides of Ashley. One side will remain plain, whilst the other will be painted with face paint. This will be shown by having her face painted white with bright red lips which will create the impression of her appearing like a china doll - which are always perfect. By doing this hopefully it will play with the audience's expectations as they wouldn't see this coming.


3. She's questioning herself about who she is and what she could be. This could be presented as a voice over by the protagonist whilst being shown the action. However, I think by being shown the actual argument between the two sides shows a different way in which a scene like this can be portrayed. The dialogue would be expected to be argumentative and questionale from Ashley, because she is confused about who she so you'd expect her to become frustrated. Whereas Alice tries to persuade her to change and tries to dominate it so she will. I think that this type of dialogue is expected, so my dialogue goes with the structure of events.


4. This scene adds to the film because, it allows the audience to see her differently in comparison to the previous scene. In the last scene the audience were just wtaching everything so all they were doing ws obseivng. Whereas now as they're hearing her talk about how she feels, it allows them to feel more involved. Through the dialogue the protagonist is almost asking the audience what they think with the questions, which makes them more involved with the scene.


5. The key visual imagery will come from having half her face painted, which would be surprise for the audience to see. The camera-work and mise-en-scene will be kept simple. so the audience are focused on her, as she will be the main visuals. It's going to be filmed on a tripod with a white spotlight on her. This means that she'll be more active in this scene than the camera, whereas in the last scene it was the other way round.

Script pro-former - SCENE 3

1. The activity in the scene is the two sisters making snide remarks ay each other, which then escalates into a huge argument. This animosity which just spirals out of control in the scene is where the conflict comes from.


2. In this scene the visual metaphor is shown later on in the argument, when Ashely decides to shock Rose by being in a dress and having her face covered in heavy 'clown style' make-up. By havin the make-up done in this way, it's a way of Ashley saying that she feels that everyone sees her as a complete jokes as she's never taken seriously.


3. The structure of events is how you'd expect it to be at the beginning. The argument starts off with the sisters being generally rude to one another, but it gets out of hand and escalates. This happened because of a comment that Rose says to Ashley, that makes her retaliate which starts the full argument between the two. As the scene goes on, the structure of events is what the audience would expect to happen. I chose to have Ashley make her point by dressing up in a dress and putting on the very heavy make-up. I think I've taken a different approach for the argument.


4. The scene contributes to the film as it causes Ashely to have her conflicted argument with herself later on, therefore this scene is important. It shows how Ashley copes with her step-sister as she's constantly being put down by her. That then allows the audience to see the more vurnerable side of Ashley, which they hadn't seen until now. The scene also helps with progressing the story.


5. The key visuals in this scene will be filming whilst the camera is handheld. This helps with the naturalistic approach that I want to go for and the audience feel like they're there too. Through this it makes the relationship between the audience and Ashely a little bit stronger, as they can see what she deals with. With the argument I will be able to create low and high angles showing the status between the two of them. Such as a low one for Ashley, because she doens't feel she's taken seriously. Also when Ashley is in her room and still angry with Rose, I'll be able to show a range of how she's dealing with the situation with making the editing fast. So it'll quickly go from a shot of her upset on her bed, to throwing her clothes out of her wardrobe. When she's applying all the make-up on this will be shown slowly, to show the importance of her changing.

Script pro-former - SCENE 4

1. The activity in the scene is her talking about the acceptance she has found with herself and there is no conflict in the scene. This shows a complete contrast from all the other scenes where there has been clear conflict.


2. In this scene it'll is her standing to the side with the plain side. When she turns, the audience will immediately think that it's a repeat of the earlier scene. This time there will be no make up on her face. When she's directly in front of the camera, her plain face is the visual metaphor shwoing that she's learnt to accept herself.


3. I decided to make the scene as simple as possible, so it's clear that she's learnt to accept herself and showing how she's moved on. Therefore by making the scene simplier from the other scenes it, shows not only has Ashley changed, but so has the structure.


4. This is the last scene of the film and shows Ashley accepting who she is. As she is now able to accept herself, it tells the audience that she now has matured and shows how she has changed througout the course of the film. This is why this scene is relevent to the film, as it's the ending and sticks to one of the conventions of a short film as the film has gone in a full loop.


5. I will be keeping the visuals for the scene quite simple, to go with the calm tone of the scene which is a contrast from the first one. The camera will on tripod to make the camera-work clean and the audience is made to focus on Ashley and what she's saying to make the scene successful.

My script

My script

SCENE 1

For the whole of this scene the camera will be handheld

ASHLEY has just come home from college. The audience will see her coming up the drive whilst listening to her Ipod and looks annoyed, as she hasn't had a good day. She stops at the doorm takes her bag off her shoulder and opens it as she rummages around looking for her keys. Once she's found her keys, she opens the door, walks over the post and throws her keys at the stairs. She then turns around, bends down and picks up the post. From there she walks to the kitchen and dumps the post on the table. Then moves the chair slightly from the table and puts her bag on the chair, get a few items out of it and puts them on the table. She then goes over and takes a glass from the cupboard, walks to the sink and gets herself a glass of water. She goes back to the table, picks up her items and walks out of the kitchen by shutting the door.

EXT. WALKING DOWN THE DRIVE

She's walks down the drive and stops in front of the door

(The camera is handheld and is tracking with her, only revelaing the side of her face. The lighting will be kept naturalistic but a reflector will be used to enhance shadow.)

Puts her keys into the keyhole and opens the door(The camera is will be an extreme close up)

INT. WALKING INTO THE HOUSE

Opens the door and walks into the house, stepping over the post.(This will be filmed inside, as if the audience are there before she is, making the audience spectators and will also create mid shot. The lighting will still be made to look natural.)

Throws her keys(The camera will create an extreme close-up, which is linked with the extreme close-up of her opening the door ealrier. Showing that her freedom has gone now she's home.)

Turns around, bends down and picks up post(This will be filmed over the shoulder and will create a close up. The lighting will remain the same.)

Walks to the kitchen(Like when she was walking up the drive the camera will be tracking with her, only showing one side of her face. The lighting will remain the same.)

INT. IN THE KITCHEN

In this part of the scene the lighting will remain naturalistic as she turns the kitchen lights on, shortly after she's entered the room.

Opens the kitchen door and walks in(Will be filmed at the side, as the camera has just finished tracking with her. She'll walk in, whilst the camera will reamin still, creating a long shot.)

Puts the post on the table(The camera will remain in the same postiton. By it doing this it means the audience are observing her everyday routine.)

Moves the chair and puts bag on it(This'll be edited so it'll jump to a mid shot.)

Getting the items out of bag and puts them on the table(When getting the items out of the bag, when she opens her bag it'll be an extreme close-up. Through this it'll show the importance of her life and everyday routine. When putting thr items on the table, this'll edit to a mid shot.)

Walks to the cupboard and takes a glass(When walking over to the cupbaord the camera will track with her. When taking out the glass, this will be filmed over the shoulder, creating a long close-up.)

Walks over to the sink(She will go first, whilst the camera will follow shortfly afterwards. This creates a long shot.)

Turns on the tap and the water pours into it (This will be filmed over the shoulder, as if seeing it from her point of view. It will also create an extreme long shot.)

Walks back over to the table and picks up the items (The camera will follow her shortly after she has started walking, but will end upstanding quite near her and she picks up the items. This will be a mid shot.) Walks towards the door, puts items and glass on the counter near her. Turns around, picks them up and shuits the door. (The camera will go shortly after her and will stop when she does. It will remain still for the rest of this shot, creating a mid shot.)

SCENE 2

The camera will be on a tripod, creating a contrast from the previously filmed scene and will remain still throughout the entire scene.

ASHLEY is standing in a completely black room with her head down. She'll have her back to the camera and a bright white spotlight will come on at the same time that her head goes up. She'll then turn around so she's facing sideways. She is dressed in all black to make her the focus of the scene and will createa floating affect. Symbolising that she feels lost and is just floating aorund in life, not knowing who she wants to be. She'll turn pivot around, revelaing that the other side of her face is painted, which is the side of her who wants to be what's expected in society - causing her to have a conflicted argument with herself. she'll remain in the same spot but will constantly be pivoting to go to the different sides. By not moving and just pivoting it reinforces to the audience that what's she's saying is the focus of the scene.

INT. STANDING IN THE DRAMA STUDIO

It'll start off with the room being completely black. ASHLEY'S head will go up at the same time that the spotlight comes on and will have her head facing the back of the audience for 3 seconds (creating an establishing shot.) The turn around, revelaing the plain side of her face(which will be a mid shot for the entire scene.)

ASHLEY:
Normal. (Pauses for two seconds, and the lighting will go down to create a slight sahdow on her face.) What is it?

ALICE:
You know what is is.

ASHLEY:
(Irritated and almost said thorugh gritted teeth.) No I don't.

ALICE:
You know perfectly well, you see everyday at college. You see everyday at home with your step-sister.

ASHLEY:
There's no need to remind me.

ALICE:
(In a sweet angelic tone.) I beg to differ. After all you explained it to Rose quite passionately.

ASHLEY:
Shut up.

ALICE:
if that's what you want.

ASHLEY:
I just don't know what everyone wants from me.

ALICE:
They want you to be happy.

ASHLEY:
Then why am I always being criticised by everyone? If it's not by those iditos at college then it's my vain step-sister.
ALICE:
They're concerned.

ASHLEY:
There's nothing wrong with me.

ALICE:
You lashed out at your step-sister the other day. That's certainly not what a lady would do.

ASHLEY:
Maybe I don't want to be a lady. I want to be me. An individual. Everywhere you go, all you see is girls who are clones. And just because I don't like these dresses or melting my face in a mask of make-up. It doesn't mean there is anything wrong with me.

ALICE:
It wouldn't harm you to try.

ASHLEY:
Go away!

ALICE:
I can't, you know I can't.

ASHLEY:
(Puts her head over her ears, looks down at the floor and this is said in a loud whisper.) Yes you can. Yes you can. Yes you can.

ALICE:
I've been dying to get out. Don't you want to try and see what it'd be like?

ASHLEY:
(SHOUTS) No!

ALICE:
Ok. There is no need to deafen me.

ASHLEY:
You're saying that I should try and be like everyone else. What do you mean by that?

ALICE:
SILENT

ASHLEY:
Refusing to speak, that's hardly very ladylike. What do you mean? You want me to be a stick like Kate Moss? Be obsessed with the colour pink like Jordan? Constantly feeling the need to improve me appearance? Falling over in heels and-

ALICE:
(Irritated) - alright you've made your point.

ASHLEY:
FIne (said in a tone, that was a lot of effort to say.)

ALICE:
But the other day, when you were completely annoyed by Rose you lashed out and went into a state shock. It's perfectly well to be an individual, but isn't it coming at a price?

ASHLEY:
(Quickly said, in an accusory tone) Well you're wrong.

ALICE:
Well let's say for arguments sake that I am. Think about it. You spend all your time by yourself, with all this anger towards everyone. You don't even bother trying to interact with your peers. It doens't make any sense.

ASHLEY:
It does to me.

ALICE:
How?

ASHLEY:
(As this is sad, she becomes a lot sadder, showing how affected she feels.) It's ok being judger by everyone. After a certain point you don't care. But if I start interacting with other girls, they'll constantly be judging me and I'll be spending every minute worrying about what they think. There are much more important things.

ALICE:
But you proved you point to Rose, didn't you?

ASHLEY:
Look you wouldn't understand. I want to be accepted for being a individual - not to be accepted because I'm the same as everyone else.

ALICE:
Is that the real reason?

ASHLEY:
(Pauses for two seconds and says it very unconvincingly) Yes

ALICE:
No offence, but that wasn't convincing at all.

ASHLEY:
(An ashamed admitted tone)I guess

ALICE:
Yes

ASHLEY:
I'm worried. If I try to be like everyone else and... and... I like it. I'm scared

ALICE:
You'll lose yourself?

ASHLEY:
Bingo. I can't find myself when I'm used to who I am. If I change, I won't be able to recognise myself and I don't think I'd be able to handle it.

ALICE:
Well it's just another test.

ASHLEY:
(Annoyed and gets louder as the sentence prgresses) Another test? What did you mean by that?

ALICE:
(Trying to be understanding) Well, if you think about it, every single person is always tested by their actions. Your actions are a test so you'll find yourself. Whether you like it or not.

ASHLEY:
(Extremely irritated) Go away! I wans finally starting to like you.

ALICE:
You won't solve your problems by getting rid of me.

ASHLEY:
But. I. Might. Find. Me.

ALICE:
(In an extremely angelic tone) Find me.

ASHLEY:
Fine me.

TURNS FACING THE BACK LIKE AT THE BEGINNIG:
(Loud whisper) Find me.

BOW HER HEAD, AS THE LIGHT GOES INTO A BLACK OUT.

SCENE 3

For the whole of this scene, the camera will be handheld.

ASHLEY is going downstaris to get another glass of water and her step-sister is sitting at the table, applying some of her make-up one. They don't acknowledge each other in any way ASHLEY has her hair up in a ponytail and is wearing some causual clothes. ROSE makes a snide comment about her and this tests ASHLEY'S patience. ASHLEY tries to walk away and not say anything, but ROSE keeps talking which then makes ASHLEY snap. They both say rude things to each other about their appearance and ASHLEY storms out, running up the stairs to her room and slamming the door.

In her room she's upset about what ROSE said to her and that she retaliated. In her head, she keeps hearing all the insults that her sister said and decides to shock her. She realises that she doens't like the way that she looks, chucks out all her clothes from her wardrobe. Changes into a dress, wearing heels and puts on make-up. When ASHLEY has 'changed' she starts walking down the stairs. At the same time, ROSE comes out saying that she's sorry, but sees ASHLEY making her stop halfway through because she's so shocked. ASHELY questions ROSE about what she said and talks about how she now looks like a clone, like ROSE. She turn goes back upstairs, leaving ROSE crying. Whilst ASHLEY walks into her room, shuts the door. She then falls down next to it with her head in her hands.

INT. WALKING DOWN THE STAIRS AND ENTERS THE KITCHEN

ASHLEY opens her bedroom door and leaves it half open and stands for a few seconds before she starts walking down the stairs. (The camera will be straight in front of her when she's in front of her door. When she walks down the stairs the camera will follow behind her.)

Opens the kitchen door, walks in and looks at her step-sister who is applying make-up on. After a few seconds ROSE notices ASHLEY and gives her a quick glance, before going to back to do her make-up. (The camera will track with ASHLEY into the kitchen and will stop at the same time. When she stops and open the door, the camera will be a mid shot. Non-diegetic noise will be created when she opens the door)

When walks into the kitchen and sees ROSE, the camera will go to a mid shot and will be a slightly low angle, showing the audience that she has a low opinion of her. When edited, the camera will go to a mid shot of ASHLEY just standing in the doorway ,(this will be from ROSE'S point of view.) There will be no angle showing that ROSE isn't fussed about ASHLEY being there at all. Therefore the audience will see both reactions and get a sense of what the relationship between the two is, even though they haven't said anything.

ASHLEY then walks over to the sink, whilst ROSE is still applying on more make-up. The camera will track with ASHLEY. ASHLEY is about to refill her glass when ROSE starts talking to her. (The camera will be a mid shot of ROSE'S face, making her the focus and creates tension as the audience is waiting to see what ASHLEY'S reaction will be.)

ROSE:
What are you wearing? (The camera will be a mid shot)

ASHLEY:
(Doesn't look at ROSE as isn't in the mood for an argument and looks straight ahead. The camera will be a close up and will only show the side of her face.) Actual clothes. (Turna sround and looks at ROSE. The camera will go up and down, as if it's being shown through ASHLEY'S point of view.) Unlike the crap you wear.

ROSE:
Fine, be like that. I was simply asking. (This will be non-diegetic noise, as the camera will go to an extreme close up of the water running into the glass. This symbolises that ASHLEY feels her emotions are running wild as she's trying not to react.)

ASHLEY:
(She turns around and when edited will cut straight to this. The camera will be a close up showing her irritated face.) And I was simply answering. (After she has said that she starts walking to the door. The camera will track with her.)

ROSE:
(ROSE gets up from her chair, creating diegetic noise, stopping ASHLEY in front of the opened door. This will be a close up.) You know [PAUSES] (This makes ASHLEY reluctnatly turn around,) You could have a shot at looking pretty, if you didn't have you hair up in that skanky ponytail, wore a bit of make-up and nice clothes.(Ends with a childish fake smile.)

ASHLEY:
I'm fine as I am. [SARCASTICALLY] Thanks (The camera will be a mid shot.)

ROSE:
(Like beforehand, the camera is a close up) Just remember [PAUSES] No-one us going to want to be with someone who looks like that [POINTS AT HER] Oh, wait [PAUSES] You're already used to that aren't you?

ASHLEY:
(Turms around slowly, still holding her glass of water, this will be a mid shot.) What. Did. You. Just. Say? (When she says that it'll be a close up, showing how irritated she is.)

ROSE:
(The camera will track with her, as she walks so she's near ASHLEY.) You heard me (This will be a close up, showing the mean expression on her face.)

ASHLEY:
(She takes a deep breath in, puts the glass of water on the counter next to her. This will be a mid shot.) [AUTHORITIVE TONE] Take it back right now. (This will be a close up of her face when she says that.)

ROSE:
(Will be a close long shot) [IN A RUDE TONE, CREATING THE APPEARANCE THAT SHE'S TESTING ASHELY'S PATIENCE] Make me.
ASHLEY RETALIATES AND THROWS THE GLASS OF WATER ALL OVER (The camera will be a long shot of her picking up the glass and throwing the water at ROSE.ROSE. It'll then go to a close up of ROSE'S reaction, it will then go back to ASHLEY'S reaction which will be a close up - SHOT REVERSE SHOT.)

ROSE will look at ASHLEY which will be a mid shot and remain there. The camera will then show part of her hand as she slaps ASHLEY on the face.

ASHLEY:
(The camera will track with her, creating the impression that ROSE is following her. As she storms out of the room whilst shouting at ROSE. She stops when halfway up the stairs and carries on shouting at ROSE. This will be a close up, showig how upset she is.) What the hell is your problem? I was finally having a nice day and you...you...you just had to go and ruin it all!

ROSE:
(The camera will be a low angle, as seen from ASHLEY'S point of view and will be a long shot.) Well I was planning on having my friends round and now I'm going to have to change my plans. You always get your own way!

ASHLEY:

(A mid close up of her face, and will be at a higher angle, as being seen from ROSE'S point of view.)[SHOUTS] My way?

ROSE:

(A close up and will be a low angle, as being shown from ASHLEY'S point of view.)[SHOUTS] Yes!

ASHLEY:

(The camera will be at a high angle as being seen from ROSE'S point of view and will be a mid close up.) You self obsessed shallow cow!

ROSE:

(Will be a low angle as seen from ASHLEY'S point of view and will be a mid close up of her face.) Well at least I look decent! I mean look at you! You're so angry all the time and you wonder why no-one likes you!

ASHLEY:

(Will be a close up of her face.) So you're saying life is better being you? [STORMS UP THE REST OF THE STAIRS SO SHE'S ON THE LANDING] You've got to be kidding me! (When she runs up the remaining stairs it'll be a long shot , but willl get closer when she's nearer the landing and will be filmed above.)

ROSE:

(Follows ASHLEY by running up the stairs, will be filmed from the landing creating the sense it's being seen from ASHLEY'S point of view. It will start off as a long shot, but will get closer when she's nearer the landing.) Well when do you ever see me upset? (Mid shot now she's on the top stair) Unlike you [IMITATING ASHLEY] Oh, everyone hates me. Oh no, I've had another crap day at school. It's a broken record - get over yourself!

ASHLEY:

(Close up) Coming from you?

ROSE:

(Close up) Well at least people like me. You don't even try, so how can you know if you don't like it.

ASHLEY:

(Mid close up to fully see her reaction.) [SPOKEN QUIETLY] What's so wrong with wanting to be different?

ROSE:

(Close up) No-one will take you seriously if you keep this up. Everyone is still going to think you're still acting out and crying for attention. This is a phase that you should have outgrown by now, you stupid stupid girl!

ASHLEY:

(A mid close up, to see fully her reaction) You think this is a phase? It isn't a phase! This is me! Only, you won't look at who I am. You look at me only as you want to see me.

ROSE:

(A mid close up) [SPOKEN QUIETLY] No I don't.

ASHLEY:

(A close up) Fine. Lie. I frankly don't care.

ROSE:

(A mid close up) You don't care? Well that's a first?

ASHLEY:

(A close up) Think about it, we've never cared about each other. Lets face it. What you really want me to be is some dumb blonde, in other words a Paris Hilton clone! Well, I think I'll pass. And if your life is so great, how come I never see you doing anything with it?

ROSE:

(A close long shot, as she gets up from the stair and stands on the landing. Trying to assert her power) That's none of your business.

ASHLEY:

(A close up) Are you sure? Because, when it comes to me it's always yours. Stick your stupid, shallow nose into somebody else's life! Someone who gives a damm! (She then turns around and slams the door.)

ASHLEY is sitting on her bed crying and this will be a long shot, symbolising that she feels all alone. To enhance this shot, I will be using a reflector to create a halo affect giving more depth to this simple shot. The camera will then go to an extreme close up of her watery eyes from when she has been crying. She then sits on the floor rocking and scratching her legs, still hearing all the things that ROSE said about her. Then she'll look at herself in the mirror which will be a long shot. The camera will then go to a close up of her disgusted face. It'll then go to a close up of her emptying her wardrobe and will be filmed from inside the wardrobe. ASHLEY will now be changed and will go into the bathroom. The camera will go to an mid close up as she sees all of ROSE'S make-up and will put in on in a clown like style. There will be an close up of her as she puts on the foundation, mascara, purple eye shadow all around her eyes (symbolising that she feels bruised by what everyone thinks of her,) and an extreme close up as she puts on some lip gloss. The camera will then go back to a mid shot, of ROSE sitting in the kitchen and crying. The camera will remain like this when she hears the non-diegetic sound of ASHLEY coming down the stairs.

ASHLEY:

(The camera won't see her as the camera will be focused on ROSE. Her voice will create non-diegetic noise.) I'm really sorry about what happened earlier Rose. (By the time she has said this, there will be a long shot of her standing on the stairs in a dress. This will be a high angle as it'll be seen from ROSE'S point of view. The camera will go to a mid close up of ROSE'S reaction and then back to the shot beforehand. SHOT REVERSE SHOT.) [IN A CURIOUS TONE] What? I thought you'd like it. After all you did say that your life was better than mine.

ROSE:

(A mid close up, with a gobsmacked face. ASHLEY is walking down the stairs.) [A CONFUSED TONE] What...what are you doing Ashley?

ASHLEY:

(A mid shot as at the same level as ROSE) Oh no [SHAKING HER HEAD] My name is Rose (goes to a long shot as she curtsies)and everything is amazing about me. Rose is shallow and thinks the entire world revolves around her. But, don't worry; she has a brilliant life, much better than her step- sister's -

ROSE:

(Rushes up to ASHLEY and the camera is behind her, so she creates a mid shot. The camera then shoots to a close up of her distraught face. This will all be filmed over the shoulder of ASHLEY) [GRABS HER BY THE SHOULDERS] Stop this right now! Why are you doing this? [TEARS ROLLING DOWN HER FACE]

ASHLEY:

(A mid close up of her face and will be filmed over ROSE'S shoulder.) To make you see what you're really like - how you're really seen! Now you know how it feels after all that crap you said to me!

ROSE:

(A close up) [LOUD WHISPER] This is crazy. ASHLEY: (A mid close up) So what if it is? At least it might drill something into that brain of yours. (A close up as she struggles out of ROSE'S grasp. She runs up the stairs again and will be filmed from above, creating a long shot but will get closer, the nearer the landing she gets. She then goes back into her room.) In her room she shuts the door and then falls slowly down against the door in floods of tears and puts her head in her hands. This will be a long shot.

SCENE 4

The camera will be on a tripod, showing a contrast with the previous scene.

ASHLEY is standing in a completely black room, with facing sideways. A bright spotlight will come on and this will show the plain side of her face. This is almost like the other scene, so therefore the audience will be expecting what they saw earlier. She starts talking whilst on this side. When she turns around, it's revealed that this side is plain too and then faces the front. ASHLEY talks about how she now sees herself and has found accpetance with hersel. Therefore it is a complete contrast with the other scene, when she was confused and didn't know who she was. At the end she will bow and the lights will go down. This will show that she has found happiness and is the end of the film.

INT. IN THE DRAMA STUDIO

The room will be completely black and ASHLEY will be facing the side with her head up. A bright spolight will come on showing the plain side of her face. After the previous scene, the audience will be expecting the same thing to happen.

ASHLEY:

(Mid shot) Normal, what is it?

PIVOTS AROUND, REVEALING TO THE AUDIENCE THAT THE OTHER SIDE IS THE SAME:

(A mid shot) It's whatever you want it to be. There isn't any real definition.

PIVOTS BACK TO THE OTHER SIDE:

(A mid shot) But, of course everyone will judge you at some point.

FACES FORWARD:

(A mid shot) But should you care what people think of you? Of course not. I learnt a lot from that long argument with Rose. I learnt at times you're going to feel lost. You're going to feel like an outsider and that no-one can or will understand you. Accepting yourself is the important thing, not what everyone thinks of you. I have finally learnt that. Relationships around me have improved and I no longer think or feel the way that I used to. I do not have to prove those around me. I now know that I no longer have to prove myself.

Analysis of 'Bronson' Script

Analysis of 'Bronson' script

In my film Ashley is confused about her identity and worries about being accepted in society. After thinking of different ways that I could show this visually, I decided that I'd show this to tthe audience by her having a conflicted argument. This conflicted argument was inspired from the feature film 'Bronson.' In my film the argument would be between who Ashley is at the present moment and who she thinks society wants her to be. The film 'Bronson' has a similar scene with a strong script, so I thought it would be useful to analyse the script so I could take elements to put into my own scene. This scene isn't terribly long, but the language that's used and the way it's portrayed creates an impact on the audience. It also allows the audience to understand how the protagonist is feeling. For my scene to work I need to get this across to the audience as well.

'Bronson' script

BRONSON:
(OFFSTAGE) I will now re-enact, what I like to call, what happens when murder goes wrong.

WALKS ONTO THE STAGE AND STANDS SIDEWAYS, SINISTER MUSIC IN THE BACKGROUND

BRONSON:
(ON STAGE) When do I go back?

PIVOTS AROUND REVEALING THAT THE OTHER SIDE OF HIS FACE IS PAINTED ALLOWING HIM TO BE ANOTHER CHARACTER, NURSERY MUSIC IN THE BACKGORUND

PAROLE OFFICER:
Now, now, Mr. Peterson, we aren't going to start all that silliness again, are we?

PIVOTS BACK TO THE UNPAINTED SIDE, SINSITER MUSIC IN THE BACKGROUND

BRONSON:
Listen, nursey. I just want to know when I head back to the slammer. Right.

PIVOTS AROUND TO PAINTED SIDE, NURSERY MUSIC IN THE BACKGROUND

PAROLE OFFFICER:
Wrong! Mr. Peterson. Now, lets not play any silly buggars, eh. I'll just have to pop you back into the potty with one of my special potions, mmm.

PIVOTS TO UNPAINTED SIDE, SINISTER MUSIC IN THE BACKGROUND

BRONSON:
(SHOUTS) When's my trial!

PIVOTS TO PAINTED SIDE, NURSERY MUSIC IN THE BACKGROUND

PAROLE OFFICER:
Ah, ah, (TUTS.) No Mr. Whiteman, come on dear, there's no trial. Isn't that wonderful? (CLAPS HANDS JOYFULLY TOGETHER) (MUSIC CHNAGES TO A SINSITER TONE) However, you are being moved.

PIVOTS ROUND TO UNPAINTED SIDE, SINISTER MUSIC IN THE BACKGROUND

BRONSON:
Where?

PIVOTS ROUNDS TO PAINTED SIDE, NURSERY MUSIC IN THE BACKGROUND

PAROLE OFFICER:
Yes Mr. Peterson. Broadmoor asylum for the criminally insane!

PIVOTS AROUND TO UNPAINTED SIDE, SINISTER MUSIC IN THE BACKGROUND

BRONSON:
I deserve to go to prison for what I did. I want my hotel room back!

PIVOTS AROUND TO PAINTED SIDE, NURSERY MUSIC IN THE BACKGROUND

PAROLE OFFICER:
I'm sure you'll find yourself some solitary.

MUSIC STOPS AFTER LAST WORD, TURNS AROUND WITH HIS BACK TO THE CAMERA. BOWS AND AT THE SAME TIME AS HIS HEAD GOES DOWN, SO DO THE LIGHTS

What I found from analysing the 'Bronson' script

Throughout the scene the sentences between the two characters, aren't terribly long. This allows the audience to understand how the protagonist is feeling in a concise and clear way. Also it's a contrast to previous scenes, which might allow them to understand the core of his character more. He's telling us how he feels about the situation and how's he's being treated by those who have more control, such as his parole officer.

What I got from analysing the script

• I found that giving the scene a title - "What happens when murder goes wrong" - instantly gets the audience's attention and makes them feel included in the scene and that they're seeing this at the same time as it's being performed.


• Having short sentences it means the relevant information is told straight to the point so the scene is concise but still effective.


• I found the script interesting as Bronson asked all the questions, whilst the Parole Officer taunted him before giving him the information he wanted. This showed who had the power throughout the scene, which was clever as it gets the viewer engaged with the scene and start thinking about what the Parole Officer might say back to Bronson.


• It showed the clear contrast of the two characters. Bronson always got straight to the point, when asking his questions. The Parole Officer takes more time and when he eventually gave it to Bronson they were always said in a sarcastic tone, showing the sinister side to the character.

How I plan to incoporate some of these ideas into my script

• /unlike this scene which isn't very long, mine will be the opposite as I plan for this scene to be the main one. However, I still like the idea of asking a simple question at the beginning, allowing the alter-ego to respond. By having this reaction it allows the scene to properly start and develop.


• I liked how you saw the contrast between the two characters and I think it would work well for my scene. I thought it was interesting and clever, to have the protagonist getting more frustrated with the alter-ego as the scene progresses. Whereas the alter-ego remains perfectly calm throughout.


• In the 'Bronson' scene it's only at the end when the audience gets a true understanding of how he feels - understandably he'd rather be in prison than in Broadmoor asylum. I think it's good to show the true feelings for my character early on as it's my main scene and will allow the audience to understand her more.


• The clear conflict between the two characters in the 'Bronson' scene, allowed the conversation to evolve as they were having a small argument. I think this would be a good tecnnique to use as it would show the contrast betwen the two different characters and would allow the scene to develop from the dialogue as they're trying to win their side of the argument. This would also allow the audience to understand the protagonist more, giving her more depth and creating a small relationship between her and the audience.
  

I have found analysing this script very useful as it has given me lots of ideas of how to create my script to make it memorable for the audience, like this one. The 'Bronson' script works because of the language that shows a clear conflict between the two characters which allows the scene to develop.