Ideas and Research
In comparison to previous projects over the last year, I wanted my next project to push my confidence further - as a film director. When choosing the genre for this film, I thought about a topic that would be challenging in technicality and imagination. Therefore, the genre choice of a drama,horror arose.
When it comes to topics of drama and horror, the key words that came to mind were manipulation, disappearance, haunt and death.
Here are the results to deconstructing these words:
Inspiration from Television
Doctor Who (Series 6) - specifically ‘Night Terrors’ and ‘God Complex’
This science-fiction television show, although having central genre, shows elements of a drama-horror/drama-thriller. These elements are made evident through the customised music, character representation and choice of location and the setting of time. Furthermore, the episode 'Night Terrors' jumps between a modern setting in an urban environment and a manor-like setting that is aged with a vintage vibe. This is similar to the episode 'A God Complex', as this episode is set in an 20th century hotel, yet the real setting is in space. The alterations in setting and manipulating the storylines truth is something I would love to bring into my project.
Inspiration from Film
Miss Peregrine's Home for Peculiar Children (2016)
This Fantasy/Adventure story, directed by Tim Burton, holds so much inspiration from its use of sets, colour and costume. In particular, the sequence where Jake (played by Asa Butterfield) discovers the children's house to be abandoned and destroyed. The attention to the detail for the backstory of the building through props, layout and colour truly brings the film more to reality. I wouldn't particularly class this film as solely fantasy adventure, but with characteristics for 'jump scares' from horrors. This is evident to the age restriction (12A) and the horror elements Burton, with the help of his production designer Gavin Bocquet is best known for, such as feelings of dismay and spooking shadows.
Inspiration from Film
IT (2017)
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Full of jump-scares, exaggerated acting and creative special effects, this horror film adaptation to Stephen King's iconic novel uses the stereotypical imagination towards derelict buildings (which I would love to take inspiration from), with a taste of Claude Paré's constant and dominant creative lure. One scene in which really pushes myself as a short-film directer, to "think outside the box", is when the Loser's Club discover and explore 29 Neibolt Street. Paré stayed true to the genre of the film, with there being strong visual characteristics such as broken and aged furniture, cobwebs, dust and the minimal use of bright primary coloured red blood. Additionally, post-production editing influences this set design positively through colour filters, allowing the antagonists, protagonists and setting date to be the main focus.
Treatment for Whispering Walls
Logline
A young creative student, who is full of curiosity, tries to discover the past of a derelict building. But she discovers an unruly truth during her adventure …
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Overview
“Whispering Walls” a dramatic horror short film, with elements of adventure and secrecy, about a young artistic student who is trying to find inspiration for her final art piece at college. After a day of struggling on what to present on her project, Alana takes her usual route home from college. However, she stumbles across a building that has a lifeless and almost saddening undertone to its presence. This irregular building has never met her gaze before and, therefore, she becomes indulged to explore and understand the history and meaning behind it. As she enters the building, she experiences sights of dust, cobwebs, and limited late furniture with the strength of dampness and must. Continuing her trial throughout the structure’s lifeless bones, Alana finds clues (photos, jewellery, and letters/journals) about a passed life linked to the building, which appear to be a simple pleasant set of facts. Not thinking about who owns it, she takes a small piece of jewellry she finds, mesmerised by its gorgeous colour. Although, as Alana continues to find more clues that darken with mass, she realises the loss of life from the grand building was from the result of a disappearance/death. Furthermore, despite respecting its residence’s memories and indents still intact, Alana is determined to understand why it’s been so alone all these years, if the loss of this person was forced and certainly why its only just crossed her eyesight. Hours fly by and she begins to sense the tension in the air, the more she wants to learn. Suddenly, a dark figure begins to be more evident physically and as an attachment to these secrets. As Alana senses the danger she’s been lured into, she attempts a rapid escape. But she becomes lost and confuse in a daze, while the shadow’s echoes grow in volume and its figure is more focused. When all seems lost and Alana is almost consumed by the dark personage, Alana wakes with a large gasp in her bedroom. She realises every anxiety and adrenaline element she experienced was just a dream. She shakes off her night sweat and goes about her normal day routine. However, as she gets to college and goes to paint the building she dreamt about, she reaches into her pocket to find the ring from her dream. She stares in deep confusion and worry, while the dark figure also common in her imaginative sleep slowly grows behind her.
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Character(s)​
Born into a family of renowned archaeologists, Alana Corowall’s curiosity about the world was kindled from a young age as she listened to her parents' tales of adventure and discovery. As she grew, she found enjoyment and expression in the world of painting, capturing the vivid images and emotions her imagination conjured up. Despite her scholarly upbringing, she chose to pursue a college course in fine arts, seeking to breathe life into the stories of the past through her vibrant brushstrokes, while gaining her university level of achievement to mentor others in the world of paint. Unlike her common pears, she is a soft, gentle soul with the occasional spark of smart wit and charisma. Alana finds comfort and reality in the sound of musicality and natures elements. The effect she gains from these characteristics of her personality is evident though her bright, loose clothing style – with a dash of the late 70’s. Her passion for art is only surpassed by her love for her family and the stories they’ve told her over the years. She's known for her infectious laugh and the way she can make anyone feel like they're the most interesting person in the room. Her limited friends are drawn to her kindness and her ability to find beauty in the most unexpected places, which she captures in her landscape paintings. Despite her youth, she has a wisdom beyond her years and a heart that's as vibrant as the colours on her palette. Her character’s personality and beauty are inspired actress Karen Gillan’s role in Doctor Who (Season 5-7) as Amelia Pond.
The antagonist to this story appears to be human yet moves with the silence of wind and no dialogue. The character ‘Shadow’ is an enigma wrapped in a cloak of shifting darkness. Their true form is never fully visually revealed, though they often adopt a human guise that stands at an imposing 6'4" with broad shoulders and a lean, muscular frame. Their face is a pool of shadow that seems to absorb all light, while the rest of their features remain obscured by the ever-changing veil of darkness. Although the identity to this existence does not seem realistic, the only true explanation for this soulless body is the never-ending midnight depths of disbelief and death, hidden in forgotten corners of any building. As the story progresses, the figure’s identity is made obvious as the lost soul when Alana discovers about the sudden death. The key inspiration for this style of character personality and description comes solely from James Watkins’ 2012 horror/fantasy film the Woman In Black, specifically the character Alice Humfrye played by Liz White.
Quantitive and Qualitative Research
To gain the necessary knowledge about an audience wanting to watch my style of short film, I posted a questionnaire on social media, which included questions that would result in qualitative and quantitive data. I chose this way of collecting data because it wasn't too confusing for those wishing to complete it, alongside the results of using Google Forms being very clear and precise to understand, as a researcher.
This question, although stereotypical in most surveys and has the appearance of being pointless, it shows who is interested in not only the survey, but the reasoning behind it (the title of any survey is the title to my film). The ending results to this question show that over 40% of responders were aged 40 and above.
Similar to the previous question, the results of this question will determine the appeal in the title 'Whispering Walls' for the film. Nearly 60% of the responders of this questionnaire are males.
This question goes more into depth about audiences preferences to film genres. The majority of the results show that the genre 'comedy' was a typical/'go to' choice, followed by drama and horror resulting at 25% each. Science Fiction and Fantasy/Animation were chosen, however not in popular quantities. Romance and History genres were not chosen at all, most likely due to the over-popularity in these genres over the years.
The qualitative responses to this question is most important, because, the image to reference from is similar to the ideal set I would like to be using for my short horror-drama film. Nearly 60% responded with the answer 'Yes', explaining the 'enjoyment of exploring', 'wanting for eerie footage' and 'the excitement of the unknown'. However, the over 40% that responded with 'No' stated about the room having 'a deep and dark...provoking atmosphere' and looking 'haunted and neglected'.
Additionally, this is another important qualitative question for my research, as knowing the key characteristics in what draws an audience into watching a film is knowledge I can imbed into my storyline/plot. With similar numerical results to the previous question, over 40% stated that the plot/elements to the film are the reason they choose to watch it. This is followed by genre and actors resulting at 25%, adrenaline aftermath and trailers/posters both at just over 12%.
Compared to around 100 years ago, film, television and media is produced and presented across several different platforms - not just in cinemas. The advancement in app and website developing gives those seeking to watch a certain genre and/or series the optional to use payable subscriptions and free websites as well as travelling to the cinema physically. The majority of the results for this question (58.3%) stated that Netflix is the most popular film streaming platform, for these responders, followed by the cinema at 25% and Disney+ at just over 16%.
With a similar approach to making full use of the film title, I have included the genre guess to the films logline. I included this as the results from this will indicate if the genre I aspire to produce links up with my loglines description. Thankfully, none of the responders chose to indicate the logline as the romance or comedy genres. Horror and Crime were equal in popularity at just over 40% each, followed by Drama at just over 30%.
Similar to the logline connecting to its genre, another element which is important in presenting all the characteristics to a horror/drama short film is the use of music (preferably aded during post-production for better sound mixing and quality). By a huge majority, 9 (75%) indicated that Tense music would work best for this logline, while 3 (25%) responders preferred dramatic music.
Overall, I feel the results to this qualitative and quantitive questionnaire have provided me, as a researcher and directer, with the external audience opinions I need around restrictions in genre, use of set design, music/sound mixing the characteristics that draw in an audience.
For the final question, I asked the responders to indicate the age restriction of this film, in which they thought was realistic. With the previous results being considered as well, 9 (75%) responders went with the age restriction 15. This restriction can include the use of dangerous behaviour, strong language and discrimination. However, 2 responders chose the rating of 18, which can include material that is harmful to audience members and pornography - which doesn't meet or extend to the imaginative vision I have for this film. 1 responder suggested the film be rated a 12A, however, this restriction limits the use of language, horror and dangerous behaviour - in which case wouldn't allow the storyline to be at its full extent and reality.
Funding for this short film
Crew
Keeping in mind that this is a student project, I ideally would like to consider crew members such as cinematographers, lighting technician(s)/gaffa and art departments workers (for costumes, makeup, and props). Those with any experience in the film industry (their own projects or other short films) will be most valuable; this will ensure some trust and confidence throughout the crew, if they have familiarity in the filming industry (no matter the intensity or amount they have experienced). With this style of film having lots of drama and imagination, having as much help on hand will further push these chances of this film being successful even higher. In regards to the commission for crew members, their appreciation with be shown in the ending film credits, as well as a fair fee that is in line with the estimated budget and other considered factors.
Cast
When looking for cast, like the location, I will be seeking local performers. This is a personal preference, because I would like to showcase the local talent within the local area (Grimsby and Cleethorpes). Age and experience of performers will also be considered, due to the age rating of the film, the intensity of filming (safety procedures in mind), makeup and performance and the genre. Those who have no experience in the performing realm or who are under 16/school leaving age will not be considered Commission wise, this will have the same outcome as the crew members.
Equipment
For filming, I intend to make full use of available no-fee equipment, both personally owned and borrowed from university. Additionally, crew members who are willing to bring their own personal equipment will be encouraged strongly. However, should items not be available (lighting, light tints, tripods, dolly zoom/panning etc), funding and DIY will be considered to avoid amateur or flawed results. For editing, available resources such as Adobe Premier Pro and Photoshop will be exceedingly important, especially for experimentation.
Locations
When writing the script for ‘Whispering Walls’, one of the main or favourite characteristics I had was the use of locations, especially local ones in my area (Grimsby – Cleethorpes). Once again, not only will the showcase the town(s) in an artistic view, but this will also allow some flexibility in the budget; staying local can ensure the familiarity for crew and cast when filming and location owners may be more willing to grant permission for local filmmakers like me if their land or building is promoted as such. I will be scouting for large open halls and theatres with minimal character and furniture, as well using available areas such as University Centre Grimsby/Grimsby Institute and the general town streets (permission will be applied for in all location options).
Marketing
For the postproduction marketing of ‘Whispering Walls’, compared to previous projects, I will continue to execute my passion and pride of this project in the movie’s poster, trailer, and an official screening. The poster will be posted on my personal and small - business pages, as well as being physical copies shared around locally. Additionally, the trailer will be shared on social media and YouTube (warnings of the age restriction will be very evident). For the official screening of the film, I feel that this will make the crew and casts appreciation clearer, instead of the solo commission. Also, this gives chance for me (the director) to reach out to the social media for further promotion. The screening will need to be shown in a large theatre/hall, along with some catering factors (food and drink) – which will take a fair sum of the preferable budget.
Props, Costumes and Makeup etc
Learning from my previous project, ‘Voice Leash’, I would like to use fellow university students’ talents in makeup/special effects. Their training will link more positively to my creative vision on the project, including the use of fake blood, supernatural and simple makeup. Additionally, like the other factors to consider when budgeting, these artists can bring their own supplies, allowing them to stay confident and familiar to their materials; this will also not dwell on the films budget in a strong mass, as special effects and general makeup can have a significant cost (depending on quality and quantity). Props and costumes, considering the time eras in the piece, can be chosen/created from second hand pieces. My main idea was to use and favour charity and vintage shops throughout Cleethorpes and Grimsby, as these items I require need an aged and outdated existence (dresses, shirts, jewellery and accessories, derelict furniture etc). Should this realistic idea end up not being as successful (such as clothing has wrong sizes or props aren’t as dated as hoped), further research into frugal emends (sewing, painting, and other DIY’s) will be used. Additional paper props, such as the newspaper and artwork, can be created in person. I have made this decision as I believe the props will be genuine to the realism I want to achieve.
Additional Needs
For the catering matter, both during production and marketing, dietary requirements will be a high importance, to avoid any illnesses occurring or preferences not being honoured. Additionally, although the consideration of the age of the actors and crew members is understood, no alcohol will be used or suggested on the production site(s); this is for the safest and most mature outcome for all bodies involved in the project.
Project go-throughs and script readings will also be essential, because all those involved on the project can have a clear understanding of their importance in the project. These can take place over video-call (depending on availability), to avoid any further use of crucial funding needed for other essential needs.
Opposing to the previous decision, dance rehearsals will be one of the most necessary details to take place; this will ensure that all the choreography agreed upon the director, crew, cast and choreographer (optional depending on performers knowledge and ability of dance). Rehearsal space will need to be found at a reasonable time rate, while staying in line with everyone’s availability.
To conclude this breakdown, to find the funding for this short film project, research into film companies such as BFI, Women in Film and TV (WFTV) as well as crowdfunding like Kickstarter being considered. Funding from these kinds of power will be able push the quality of characteristics both during production, post-production and marketing.
