For example we planned on having the assassin shooting the president from the window while he is giving interviews. The new idea was to just have different shots from different angles of the assassin, who is looking at the hotel, where we then see the premier minister and his wife coming out and walking towards their car.
For the first seconds in our Thriller we experimented with the camera in the first hour of the day. We wanted to use a dolly shot, which shows us the couple walking to the car and then we suddenly see the assassin from the back. We see his left hand and we go past his back until we see the gun in his right hand and the couple in the background. We shot it in slow motion. A dolly is a cart, which travels along tracks. The camera is mounted on the dolly and records the shot, as it is moving. We then tried out on the focus pull. The focus pull is a creative camera technique in which you change focus during a shot. Usually this means adjusting the focus from one subject to another. We didn’t witch from the assassin to the couple, although we had a close up of the assassin, who was out of focus and then we slowly brought it into focus. The last thing we experimented on was a shacking shot. We focused on the assassin and then suddenly started shacking slightly with the camera.
Then you can see quick cuts between the assassin and the couple. A close up of the assassin’s face and we could then see him walking towards them, shooting the premier minister and then shooting himself. Then it should cut to a black screen and we see the title of the movie “Injustice”.
We chose only one location for our Thriller, which was the car park in front of the main building. We had all cars removed so that we can just see the hotel, the assassin, the couple and their car. We thought it’s more effectively if we just shoot outdoor. The lighting was basically natural. We sometimes had problems because it was partly snowing, that means that in the editing process we have to be careful how to put the shots together.
We had lots of different shots from different angles of the premier minister and his wife walking towards their car. We filmed their whole journey in slow motion. We had close ups of the wife, close ups of the premier minister, a long shot of them walking, a low and high angle shot, a medium shot from behind, etc.
Throughout the opening sequence we won’t have dialogue. We see the couple talking, but we will voice over that with non-diegetic music after the filming and editing process. The music should build tension and create suspense for the audience. When the assassin shoots the premier minister we will hear diegetic sound of a gun.
I can’t think of a specific shot that didn’t work well. I think we managed to film what we want and even the more difficult shots, like the dolly shot, worked well because we had a chance to try it out before recording it.
We chose George Spooner as our main actor because he seemed to suit this character well. As a costume he wore a black suit and a black coat. We wanted him to look older then he is and smart. He has a gun in his hand throughout the whole opening sequence. For the premier minister and his wife we chose James and his wife. They were both dressed casually and smart. He wasn’t wearing a suit, which in a way also subverts the stereotypical politician. They are just about to drive back home from their holidays in the countryside. As props we just used a gun and a car. They all did an amazing job and we were more than happy with their acting and appearance.
I manly was the director. I think we all worked well together. We all tried the camera at one point, we all tried to direct and try to make the as good as possible and I hope we will also all take part in the editing process. For the organizational part we tried to split it up equally, we all got some props, chose the cast together, worked on the idea and developed it.
Charlie Lindsay was manly on the camera and Michael Pearce was the producer.
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