Studio Idents - Research and Planning

This Ident had an instantly recognisable colour scheme - blue and gold - which gives it a familiar look and makes it appealing to me (as a point of interest, it has been modified for several films - black and white for Inception, blue-tinted for The Dark Knight. These I feel are interesting stylistic choices to throw off the viewer, which suggests their familiarity to the original colour scheme). The symbol is also very bold and recognisable. I feel that we should attempt to make an Ident with a similarly recognisable colour scheme for our studio logo.

This is a simple, bold and iconic studio logo which also has an powerful theme. This logo often draws me into films due to its own timelessness, so I feel that we should also attempt to make an eye-catching Ident, simple yet iconic.

Like the other Idents I have posted, the main colour scheme of the writing on this Ident is gold - unless we would like to give our studio Ident a more understated look, I feel that we should consider using gold. What I particularly liked about this was the use of spotlights, which is very eye catching.

This is a more understated logo which I imagine that our Ident would look more like. It is, however, as eye-catching and interesting as the other more prestigious Idents I have posted due to the bold font and recognisable logo. This Ident has been frequently used in films which have had it modified or have played music/sound over it. It is possible that we could do the same for our Ident if we were to have one similar to this.

For our Ident, I would like to design something similar to the Legendary Pictures logo. I do not feel that our Ident symbol - if any - should be overstated and large, in order for it to reflect the somewhat low-key nature of our film. Ideally, I would simply have text giving the name of our studio logo, though with a sleek animation to it which would also reflect the stylish and urban atmosphere of our film. Like the Idents I have researched, I would like to possibly have a gold font to our Ident in order to make it stand out, though have the font style itself fairly low-key, perhaps even like the Bank Gothic font we have chosen for the titles themselves.

Recce 1 and 2 - Comments

Our original plan for a recce, which involved taking the DLR from Canary Wharf to Deptford Bridge on the 11th of January and filming on the latter station did not work out at all. Upon boarding the DLR and setting up to film our first shots, we were told by a steward that we could not film on the DLR without permission which, unfortunately, we did not have. Furthermore, we were not allowed to film on the station which we had originally intended to.

After some discussion about where we could re-film our sequence, we decided that we would film the station sequence at Lewisham, the train scene on the overland service and the alleyway sequence in it's original location - near Deptford Bridge station. However, when we began shooting on the overland train, it became apparent to us that filming on this train would be equally problematic, as there was very little space to film and a fair amount of co-passengers. At this point, we decided that we would have to scrap the idea of filming the first half of the opening on the train and would film at another location.

We decided on filming the first half of the opening on London Bridge, as it had a modern, industrial feeling, similar to the one we hoped to achieve by filming near Canary Wharf. We found that we could transpose the narrative from a train to the bridge easily, with very few changes - the most notable ones being shots of the surroundings of London Bridge to establish the more vast location rather than shots of the train moving and arriving at the different stations. The second half takes place in a river walk rather than a station, which has many interesting paths and staircases that would make good locations. The main problems that we will need to iron out include lighting and sound. Many of our low angle shots or close ups often result in the actors being silhouetted by the natural lights. This will mean that we will have to strongly light our actors in the actual shooting. We are also intending to use a microphone for both dialogue scenes in the opening. As a point of note, we also hope to film the final alleyway scene in a car park - however, the lights in this particular car park only seem to turn on after approximately 4:45, and our recce footage of that location, which we filmed before the lights were turned on, was particularly grainy. We may consider waiting until the lights have turned on to film in that location so as to avoid the grainy effect.

Narrative for Thriller Opening

Screams are heard over a black screen, they get louder and bridge into the screeching of the DLR on the tracks. A man is sleeping inside one of the carriages, in the third row from the front. He wakes up and exchanges a few ambiguous words with an unseen stranger sitting next to him. This second character is never shown fully and remains a mysterious figure for the audience. The first character turns to look out of the window, and when he looks back, the man is gone. The train doors shut and the second character is shown leaving the train. The first character notices a book that has been left on the seat next to him by the mysterious man. He opens it and it contains a piece of paper with the name of the station where he presumes he is supposed to get off, consequently it is the one approaching. He exits the train and asks a man on the platform for the time, who replies ‘yeah, you’re late, red hat’ suggesting he isn’t a stranger and is fully aware about what is going to happen. The first character looks around the platform, and turns back to the man, who is already gone. He then notices three men leaving the station, one of which is wearing a red arsenal hat. He also notices a young girl, mid-teens, wearing a red hat, leaving the station. He takes his chances and decides to follow her. She doesn’t realise and walks on; it is getting darker by the minute. She crosses a dark street and the man drags her down an alley. The screams from the beginning are played again, and the screen fades to black.

Storyboard

Order of Shooting

1. Shot 5
2. Shot 2
3. Shot 4
4. Shot 3
5. Shot 8
6. Shot 9
7. Shot 12
8. Shot 10
9. Shot 11
10. Shot 13
11. Shot 14
12. Shot 15
13. Shot 16
14. Shot 6
15. Shot 7
16. Shot 17
17. Shot 18
18. Shot 19
19. Shot 20
20. Shot 21
21. Shot 22
22. Shot 24
23. Shot 23
24. Shot 25
25. Shot 26
26. Shot 28
27. Shot 29
28. Shot 27
29. Shot 30

The shot labeled 1 should be filmed first, as it contains the area surrounding the DLR journey. The shots numbered 2 to 12 should then be filmed together as they take place on the DLR itself. Shots 13 to 16 should also be filmed together as they occur on the platform. The rest of the shots, with the exception of the ones numbered 22 and 23, should then be filmed in chronological order.

Cast

The character of the young teenage girl will be played by Alice Alphonse. We have chosen her because we believe that she has the most physical resemblance to the character we imagined in our heads

For the role of the murderer we have chosen Callum as we believe he could portray his character very well.

For the role of the man on the platform, we have chosen Gus Grant, due to the fact that he will physically resemble the character we had in mind a lot.

For the part of the mysterious man on the train, we have chosen Ollie Brenmann because he has acting experience with roles such as this one.

Locaiton Plan

This is the interior of the kind of DLR train that we will be filming the first half of our opening on. We will position the character on the third seat away from the front of the carriage as it would mean that we can get the views out of the front windows of the DLR we wish to have while still having the character far back enough from the camera to achieve our wide angle shots. We intend to take the train at around twilight, as this would look cinematic and impressive for our film.

This is the kind of view we would like to have when we see out of the windows - a few of our shots may be from the point of view of Frank, who is looking out at this location. I feel that Canary Wharf is a particularly impressive area and so I would like to have shots of it within our film at around twilight, when the characters will be on the DLR.

Here is the Deptford Bridge station, where Frank will get off and meet the suited man. I imagine the suited man to sit on one of the benches on the left side of this station, and that Frank will meet him here. I imagine that the young girl will be standing near the stairswhich are at the far end of the left hand side of this station, and that Frank will begin following her there.

These are the stairs which Frank will follow the young girl down. I would imagine that by this time, it would be almost dark. However, the station is well lit, meaning that this should not be much of a problem - if we do not feel the natural lighting is adequate, then we should be able to use some of our own lights.

This is where the station meets Deptford. On the right of this photo, there is a fence which runs adjacent to a river walk where Frank will follow the young girl.

This is the part of Ravensbourne River where I imagine Frank will kill the girl. I originally imagined it to be in an alley, though this location seems to be more eerie and ominious, and in my opinion would work better in the film. The two characters should arrive on the left hand side of the photo, where he will kill her for the film.

Shooting Schedule

• We will be meeting at 3pm outside Canary Wharf Station.
• Christoph is responsible for collecting the equipment from school and bringing it to location on Saturday.
• We will be filming our piece in chronological order, as the scenes take place at different times of evening, and therefore natural light will change as the piece progresses.
• If it is raining we will film regardless, but take necessary precautions to protect the equipment.
• I envisage our filming time to last around 2 to 3 hours, but our reccee to last slightly longer, to ensure we are prepared.
• Every crew member has the telephone numbers of both other crew member and the cast members, which can be used in the event of an accident or tardiness.
• In the event of illness or emergency unavailability of a cast member, we will proceed to film the scenes which they are not in, and either find a suitable replacement, or film their scenes at a later date. 
• In the event of illness or emergency unavailability of a crew member, the other crew members will proceed to film the piece regardless.

Our Film Script

BLACK SCREEN

IT IS SILENT. GRADUALLY, MUFFLED SOUNDS OF STRUGGLING AND A WOMAN’S VOICE CAN BE HEARD. THE SOUNDS CRESCENDO INTO A SCREAM AND WE CUT TO:

INT. DOCKLANDS LIGHT RAILWAY

A MAN IN HIS EARLY TWENTIES – FRANK, REASONABLY HANDSOME AND WELL DRESSED IN A LEATHER JACKET, BUT ALSO SLIGHTLY ROUGH LOOKING -  HAS JUST WOKEN UP BY AN UNKNOWN DISTURBANCE TO HIS RIGHT. HE LOOKS ROUND AT A MAN THE AUDIENCE DO NOT SEE.

          THE UNKNOWN MAN

     You alright mate?

          FRANK

     Yeah… long day.

DESPITE BEING A SEEMINGLY RANDOM OCCURRENCE, FRANK IS LOOKING SOMEWHAT SUSPICIOUS. THE UNKNOWN MAN HAS STILL NOT BEEN REVEALED. FRANK LOOKS OUT OF THE WINDOW OF THE DLR, STARING AT THE CITYSCAPE. IT IS TWILIGHT, AND THE LIGHTS OF CANARY WHARF ARE BEING TURNED ON. FRANK LOOKS BACK AT THE MAN AS THOUGH ABOUT TO SAY SOMETHING, BUT HE HAS GONE FROM THE SEAT. FRANK LOOKS DOWN TO SEE THAT THE MAN HAS LEFT A BOOK ON HIS CHAIR – JOSEPH CONRAD’S ‘Heart of Darkness’. FRANK NOTICES THAT THE TRAIN HAS PULLED INTO A PLATFORM, PRESUMABLY WHERE THE UNKNOWN MAN HAS LEFT FOR, AND PICKS UP THE BOOK ONCE THE TRAIN HAS SET OFF. INSIDE IS A FOLDED SHEET OF PAPER, WITH ‘Deptford Bridge 5:10’ WRITTEN INSIDE. IT IS NOW CLEAR TO THE AUDIENCE THAT THIS MEETING HAS BEEN SET UP. FRANKHEARS A TANOI ANNOUNCE THAT THE UPCOMING STATION IS DEPTFORD BRIDGE.

CUT TO:

EXT. DEPTFORD BRIDGE STATION

AS THE TRAIN PULLS IN, FRANK LEAVES ON TO THE PLATFORM, LOOKING LEFT AND RIGHT AS THOUGH FOR SOMEONE ELSE. EVENTUALLY, HE NOTICES A WELL DRESSED MAN IN A SUIT STANDING BY THE EDGE OF THE PLATFORM, LOOKING AT THE STREETS BELOW. FRANK APPROACHES HIM AND THE WELL DRESSED MAN TURNS AROUND.

          FRANK

     Do you have the time?

          WELL DRESSED MAN

     Yeah… you’re late.

THIS MEETING HAS ALSO CLEARLY BEEN SET UP, DESPITE THE SEEMINGLY UNSUSPICIOUS CONVERSATION. THE WELL DRESSED MAN WALKS PAST FRANK, MUTTERING AS HE DOES SO:

          WELL DRESSED MAN

     Red hat.

FRANK PROCEEDS TO LOOK AROUND THE STATION UNTIL HE NOTICES A YOUNG WOMAN IN A RED HAT. IT IS NOW CLEAR TO THE AUDIENCE THAT THE EVENTS HAVE BEEN LEADING UP TO THIS – FRANK HAS BEEN LOOKING FOR HER. SHE LEAVES THE STATION, UNAWARE OF FRANK’S PRESCENE,AND WALKS DOWN THE STEPS OF THE PLATFORM WITH FRANK FOLLOWING FAIRLY CLOSE BEHIND HER. SHE IS NOW ON THE STREETS, AND FRANK REACHES FOR A HAT OF HIS OWN TO MAKE HIS FACE UNSEEN. THE GIRL WALKS DOWN INTO A BACKALLEY BY A RIVER, AND FRANK MAKES HIS MOVE, GRABBING HER BY THE NECK AND FORCING HER TO THE GROUND. AS HE BEGINS TO STRANGLE HER, THE SAME SOUNDS THE AUDIENCE HEARD OVER THE BLACK SCREEN ARE HEARD AGAIN AND WE-

FADE TO BLACK.

Soundtrack Ideas

Unfortunately, as of yet I have found no suitable soundtrack that I feel we should use in our film. I have searched www.freeplaymusic.com for many songs though so far, none of the songs I have found seem suitable. However, a friend of mine is a musician with a home studio, who has written songs in the past which I feel would suit the atmosphere of our film and I hope that he would be available to score our film - he is a neighbour of mine so I should be able to get hold of him easily.

Shot List

Click on the picture to enlarge image.

Graphics Ideas

I have chosen three title fonts which I feel would be appropriate for our film, with examples of them below. I feel that the title of our film should be written in capitals, while the rest should be written in normal formatting. To me, these fonts seemed reminiscent of the fonts for films such as Taxi Driver, Collateral and Heat, which seem to have a similar atmosphere to our planned film.

EXAMPLE

Example

EXAMPLE

Example

EXAMPLE

Example

Potential Filming Problems

While filming our opening, it is possible that we may come across several problems with regard to equipment use and problems which may arise due to our location choices. They are listed below:

1) Reflection. As we are filming on the DLR at night, it is possible that we could catch the reflection of the camera, camera operator or other equipment given that the (many) windows of the DLR may be highly reflective at night. However, we intend to film the majority of our shots facing the characters or from behind them, which would reduce the risk of encountering this problem.

2) Lighting. It may be very difficult to use lights on the DLR given that it is public transport and a fairly enclosed space. This would mean that we would have to use ambient lights with filming. However, the ambient lights could potentially work well, as the DLR is well lit at night.

3) Holding the camera. There are many problems with regard to how we hold the camera. One is that we may not be able to use a tripod on board the DLR, given that it is public transport and an enclosed space, making it hard to set up. Furthermore, if we did manage to set it up then the tripod would shake, which may ruin the shots. This would leave us with one option - holding the camera by hand. This would also mean that the shots would have a shaky effect, though it may be the case that this would benefit the film stylistically.

4) Gaining permission. We may have to notify TFL that we intend to film on the DLR and at the station, which may be a logistical issue. We would also have to pay £40 to gain permission to film on the DLR. However, with sufficient forward planning, we should be able to gain adequate permission to film.

The Art of the Title - Research

Juno

0:16 – ‘Fox Searchlight Pictures presents’

0:21 – ‘A Mandate Pictures + Mr Mudd Production’

0:26 – ‘A Jason Reitman Film’

0:30 – ‘Juno’

0:39 – Ellen Page

0:43 – Michael Cera

0:49 – Jennifer Garner

0:57 – Jason Bateman

1:01 – Allison Janney

1:06 – J.K. Simmons

1:11 – Olivia Thirlby

1:18 – ‘Casting by Mindy Marin (csa) Kara Lipson’

1:22 – ‘Costume Designer Monique Prudhomme’

1:27 – ‘Music by Mateo Messina, Songs by Kimya Dawson’

1:34 – ‘Music Supervisors Peter Afterman and Margaret Yen’

1:39 – ‘Co-Producers Jim Miller Kelli Konop Brad van Arragon’

1:43 – ‘Film Editor Dana E. Clauberman’

1:49 – ‘Production Designer Steve Saklad’

1:53 – ‘Director of Photography Eric Steelberg’

1:59 – ‘Executive Producers Joe Drake Nathan Kahane Daniel Dubiecki’

2:04 – ‘Produced by Lianne Halfon John Malkovich Mason Novick Russell Smith’

2:10 – ‘Written by Diablo Cody’

2:18 – ‘Directed by Jason Reitman’

Taxi Driver

0:01 – ‘Columbia Pictures Presents’

0:08 – ‘Robert De Niro in’

0:35 – ‘Taxi Driver’

0:39 – ‘A Bill/Phillips Production of a Martin Scorsese Film’

0:43 – ‘Starring Jodie Foster’

0:45 – ‘Albert Brooks as Tom’

0:47 – ‘Harvey Keitel’

0:49 – ‘Leonard Harris’

0:51 – ‘Peter Boyle as Wizard’

0:53 – ‘and Cybill Shepherd as Betsy’

1:07 – ‘Music by Bernard Herrmann’

1:13 – ‘Supervising Film Editor Marcia Lucas Film Editors Tom Rolf a.c.e Melvin Shapiro’

1:18 – ‘Special Makeup Dick Smith’

1:21 – ‘Visual Consultant David Nichols Creative Conslutant Sandra Weintraub’

1:25 – ‘Director of Photography Michael Chapman’

1:29 – ‘Written by Paul Schrader’

1:32 – ‘Produced by Michael Phillips and Julia Phillips’

1:40 – ‘Directed by Martin Scorsese’

It is clear from both these films that a large amount of titles must be put into a film, perhaps more so than our two minute time frame allows. However, as we do not have a cast or crew as large as either of these films I would imagine that we would be able to fit all our necessary titles into the time frame of our film. Personally, I would imagine that our title sequence would not dominate the screen in the way that the titles of either Juno or Taxi Driver do, as both are montages while our film has more of a narrative to it.

Classifying Our Film

research of the BBFC website, I can now gauge an accurate insight into what our film would be rated if we were to make the whole film. A 12/12A rating would be restrictive for the film's plot, as it deals with some violence and profanity, and has some generally dark themes. Furthermore, given the nature of some of the characters as criminals, there would likely be some profanity in the film that would not be permissible in a 12/12A.

However, this film would not merit an 18 rating either, as the violence and profanity of the film would not be gratuitous or overly explicit in its content. Furthermore, the film does not have an overall morally dubious theme despite some scenes which may appear somewhat disturbing or dark.

A 15 would be a perfect rating for our film as it would allow us to include darker themes and content without venturing too far into morally ambiguous representation or gratuitously or disturbingly explicit content, while still allowing the film to appeal to the masses - the 15-25 age bracket is the target audience for our film, as it constitutes the highest proportion of filmgoers, meaning our film would be viewed by the masses. I have researched the 15 rating at the British Board of Film Classification website which explains what kind of content can and cannot be put in a 15, demonstrated below:

Discrimination
"The work as a whole must not endorse discriminatory language or behaviour."
I would imagine that there would be very little discrimination in our film. If there is any, it would most likely not be dwelled on or shown in a negative light.

Drugs
"Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable."
I would imagine that there would be some drug use, but mainly because several characters are involved in the spread of drugs through London. Drugs themselves would not be shown in detail or glamourised in the film, however.

Horror
"Strong threat and menace are permitted unless sadistic or sexualised."
There will be a fair amount of threat in our film as the story has some rather dark moments and deals with murder. However, it would never be sadistic or sexualised.

Imitable Behaviour
"Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised."
Given that the story revolves around an assassin, it is likely that imitable behaviour would not be portrayed in the film as he is a professional and his methods would not easily be replicated or glamorised.

Language
"There may be frequent use of strong language (for example, ‘fuck’). The strongest terms (for example, ‘cunt’) may be acceptable if justified by the context. Aggressive or repeated use of the strongest language is unlikely to be acceptable."
The film will use a fair amount of strong language, though this will be justified in the context as it will be used to characterise the more dangerous or unstable characters in the film rather than be glamourised or used in a gratuitous fashion.

Nudity
"Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context."

Sex
"Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable."
There may be some nudity later on in the film, though it is unlikely that it will be in a sexual context, even if we do include some sex references or scenes later on in the film.

Theme
"No theme is prohibited, provided the treatment is appropriate for 15 year olds."
The theme of the film is quite dark as it deals with murder and violence, but it would not too intense for people of 15+ years of age.

Violence
"Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification."
There will be quite a lot of violence in this film which may be slightly graphic, though never overly gory. Characters will be shot and sometimes killed in the film which will give it the 15 rating, though there will be no gory or sexual violence meaning it will not be a 18 either.
I feel that a niche audience for our film other than the general 15-25 age bracket may be people who are interested in criminal subculture of London - the film explores a wide range of criminal activities within London, from murders, to illegal drug culture, to gangs. People who are attracted to or interested in the city of London generally may also be a niche audience for our film. I am of this mentality because films such as Collateral and Taxi Driver, which I would compare this film to in terms of style and, in the latter case, budget, have had similar niche audiences for the cities Los Angeles and New York.

Deptford Bridge + DLR Photos

These pictures were taken of the cityscapes surrounding the DLR. It is easy to see how they would look impressively cinematic in our film, especially at night time when we would be able to capture the lighting and reflection of the buildings.

These are all pictures of the DLR station. It seems to have a good view over the streets in Deptford, which we may be able to use to add impressive aesthetics to our film.

Though the stairs of the station will not take up much of the film, these pictures demonstrate how it is an impressive, cinematic location and could make the film more visually thrilling, especially when it is darker and there are artificial lights.

The French Connection (1971)

The French Connection is a police thriller based on true events, directed by William Friedkin and written by Ernest Tidyman, starring Gene Hackman. The two production companies involved in The French Connection were Schine-Moore Productions and D'Antoni Productions. Both production companies were only involved in the production of this film, though it's distributor, Twentieth Century Fox Film Corporation, is highly renowned, having been involved in many big budget films year in year out.

Bullitt (1968)

Bullitt is a police thriller directed by Peter Yates and written by Alan Trustman and Harry Kleiner, starring Steve McQueen. The two production companies involved were Warner Brothers/Seven Arts and  Solar Productions. The Warner Brothers/Seven Arts partnership stopped producing films in 1970, though in it's time it made some reasonably popular and critically acclaimed films such as Cool Hand Luke and The Green Berets - all these films notably star popular leading actors. Solar Productions was solely involved in the films of Steve McQueen, including The Thomas Crown Affair and The Getaway.

The Long Good Friday (1980)

The Long Good Friday is a crime film directed by John Mackenzie and written by Barrie Keeffe, starring Bob Hoskyns. The three production companies involved in the film were British Lion Film Corporation, Calendar Productions and HandMade Films. British Lion Film Corporation has mainly been involved in independent projects, while Calendar Productions was solely involved in the production of The Long Good Friday. HandMade Films has also largely been involved in independent projects, though it produced the highly popular Withnail & I.

Thriller - Definition

A thriller is a genre of literature and film which is based around evoking an atmosphere of suspense, fear and tension. We are attempting to achieve the effect which most thrillers have by making a story which is based around danger, being the story of an assassin, and introducing tension and surprises from the story's beginning, through using ambiguous screams heard over the opening titles.

November 24th/22nd Production Meeting

Tuesday - progress was reasonably slow, as the majority of the lesson was based around completing the shot list for the film. We completed around half of the shot list by the end of the lesson and began re-drawing the storyboards of the opening shots.

Thursday - we finished the shot list at the very beginning of the lesson and began working on the finalised storyboards for the entire film. During the second half of the lesson, we began to discuss specific films and studios which we felt would be similar to ours. Films brought up included The French Connection and Blue Velvet.

Shot List - Table

Number	Cut	Type	Visual Content	Sound		Colour	Time			Actors	Drawn By
1	-	-	Black screen	Muffled sounds, then a sharp scream		Black	5 seconds			-
2	Quick cut	CU on face	Main character wakes up on DLR, looks to his side as other man speaks	Dialogue ‘You alright mate?’		High key – DLR lights	6 seconds			-
3	Straight cut	MS on both characters from behind	Both characters seen from behind, partially obscured by seats	Dialogue ‘Yeah I’m fine… long day’		High Key – DLR lights	4 seconds			-
4	Straight cut	Revert back to shot 2	Character looks back out of window	Diegetic		High key – DLR lights	3 seconds			-
5	Straight cut	Long shot	Canary wharf +surrounding buildings	Diegetic		Low key – night time, with ambient lights	3 seconds			-
6	Straight cut	Revert back to shot 4	Second character has gone	Diegetic		High key – DLR lights	2 seconds			-
7	Straight cut	Wide shot	Empty carriage, apart from main character	Diegetic – train sounds	High key – DLR lights			4 seconds	-
8	Straight cut	Revert back to shot 3	Character looks down to seat	Diegetic	High key – DLR lights			2 seconds	-
9	Straight cut	High angle, book on chair	‘Heart of Darkness’ by Joseph Conrad	Diegetic	High key – DLR lights			2 seconds	-
10	Straight cut	Low angle of main character	He looks up from book at closing doors	‘Stand clear of the doors’	High key – DLR lights			4 seconds
11	Straight cut	Wide angle of DLR	DLR leaves platform	Train begins to start up and leaves	Low key – ambient lights of station			6 seconds	-