Coursework: Preliminary Exercise 2023

 Coursework: Preliminary Exercise 2023

1) I plan to make a short chase scene involving two characters. One character will represent "good" and will be running from the second character, who represents "evil". They will both be in a dystopian world, in which they are under a lot of constraint from the government. The evil character will be chasing the first character because they have been instructed to do so. However, in reality, the second character is a pawn in the form of this world and does not understand why the first is rebelling against the totalitarian society. 

There will be a variety of camera shots and angles such as medium shots and low/high shots to represent the tension and suspense in the scene. Both characters will be teenagers who are trapped in this society so that it can relate more to children who watch it. Additionally, using young people will be more appropriate for a family audience. The setting will be a pathway that is covered in trees, which is relatively dimly lit. There will be tense non-diegetic sound which will add more suspense and create a more sudden tone. The angles will also be sharp, to signify the characters' movements.

2) Script: the first shots will be a representation of the setting. It will have tense, non-diegetic music to signify a stressful situation. Then, the camera will film both characters as they dart down the street and make a series of sharp turns. After a good fifteen seconds of this, the first character will stumble to a stop at the end of the road.

CA turns without speaking, frowning. They are breathing quickly and sharply. Their chest falls and rises heavily, and they have an air of unconstrained anger that seems to build up quickly as they move.

Character B [slowing some six feet from CA, panting]: Where did you think you were escaping to?

[Initial anger and aggression between both characters is exemplified through the hostile tone in both of their voices, and the frowns they both wear.]

CA stares at them furiously, breathing heavily. Their eyebrows are lowered and a crease forms between their eyebrows. Their refusal to speak is further exemplified not by their lack of coherent speech, but by the anger that does not allow them to reply. 

Character B [sharply]: Your childish rebellion has gotten us nowhere.

Character A [staring purposefully]: Childish? 

CA's voice is quieter than is expected - the contrast between their demeanour and the quiet rage they have in their voice is prominent. 

Character B: That's all you'll ever be to me. To anyone. [pausing, scowling] You are nothing but a pathetic figure for pretentious well-wishing.

[Character B immediately fits the mould for a bad character through insults and sharp tones. They seem to be extremely aggressive and force the audience to dislike them immediately.]

Character A [sarcastically]: Wonderful. They wait for CB to say something; however, they are disappointed as their counterpart stares back sternly, as though afraid of what to say. Both of their demeanours have changed; they glower intensely at each other and make continuous eye contact. The atmosphere is tense and thick with anger. You're still taking orders from... them?

[The mystery surrounding this phrase implies the totalitarian society and recognises that others give orders or are in positions of corrupt power.]

Character B: You know as well as anybody else why we must stay in line and follow the rules. Little do-gooders like yourself cause nothing but chaos. Their tone is spiteful and condescending, eyes glimmering with something unrecognisable.

Character A: Haven't I stayed in line enough as it is? It makes me sick.

Character B [frowning]: I'm doing this for you.

[This sharp change in attitude recognises a history between both characters and deeper motives for their actions.]

Character A [sharply]: You're doing this for them.

Character B [slowly]: Is that what you think? They look oddly nervous, biting their lip as they carefully watch CA's movements.

Character A: Don't you realise how engrossed you've become in their regime? You're suffocating yourself. Their voice is loud and it makes CB wince slightly, who raises their shoulders as they stare at the ground. Any earlier traces of CB's anger is gone; instead, it has been replaced by a kind of growing sadness and pitiful regret that cloaks them in a cover of fear.

[The implication of a regime reinforces the idea that the dictatorship and society are negative forces and have affected both characters. It also demonstrates that the second character is "evil", and is portrayed as the villain.]

Character B swallows, frowning again. They struggle to form words, staring intently into the distance.

Character A: Escort me back, then. Ruin my life as well as yours. It's what you're good at, isn't it?

Character B: I have to do this. I have to follow their orders or they'll... They'll kill me. 

[Alternate motives recognise that CB is not doing it plainly to follow orders, and may gain sympathy points due to the threat of losing their life.]

Character A [laughing mockingly]: That's what they've convinced you, right?

[The lack of empathy from CA is jarring - it may demonstrate to the audience that they are not moulds for characters of good or evil, and both have positive and negative features. Additionally, the audience may see that CA is not the "good" character after all, or is rebellious in a way that makes them unlikable.]

Character B steps back weakly, creating distance between them and inhaling desperately. Character A raises their eyebrows, watching CB.

(This show of emotion from CB may gain more sympathy points from the audience, and may convince the audience that they are good and not evil at all, as first implied.)

Character B: Given everything, I thought you'd understand my place in all this. I thought, for once, I could get through to you.

Character A: Given everything?

Character B: You know what I mean.

(This implies a history between both characters that has caused a wedge between them, and a deeper motivation for CB's actions.)

Character A: (snarling) It means nothing now; you've made that very clear.

Character B: Why won't you listen to me? What I have done to make you detest me so much?

Character A: (frowning) That's not fair.

(CA seems to be particularly hostile and creates a tone of anger between them. The audience may see their lack of empathy and not support them as entirely as they did at the beginning of the clip.)

Character B: None of this is. None of this will ever be fair. Staying in line is the least you can do to make this easier for us. It's selfish to try to make yourself the hero - the martyr, (mockingly) darling - because you want to fit the storybook character of a "good" person. (smiling sadly) None of us are good people. We're all bad.

Character B steps back again, raises their head as a last show of power or dignity, and walks into the distance without looking back. Character A watches them leave, eyebrows furrowing. At last, they shake their head, and run again in the opposite direction, looking paler than before, and moving with less vigour.

3) My friend and I will play the parts of both characters.

4) I will film outside of school, in a small, quiet street that I think would fit the fantasy genre well. It is dimly lit and has lots of trees and greenery, as well as a pathway.

5) I will do shots from behind of the characters running, then shots from behind of them separately. I will also film their feet as they run, specific parts of their body like hands, and their faces when they move or speak. I will also film wide shots of the scenery, and distance shots to exemplify their characters.