Opening Sequence Narration

Opening Sequence Narration

My thriller film begins as a flash back in a park with a mid shot of a swing set, whilst the credits are appearing over the top of the image. The film will be presented through the use of a black and white filter, paired with a bright lighting state, it conveys the swing set spontaneously moving on its own, dramatically differing in speed whilst moving until the figure of a young boy suddenly appears to be sitting on the swing. The young boy will still be presented through a sustained mid shot whilst he slowly rocks on the swing and the audience will hear eerie music within the background of the action. A sudden jump cut will connect the next high angle camera shot, framing the antagonists face whilst he lay lifeless in the middle of a road. Conventional street sounds, such as driving vehicles, traffic lights at crossings and distant voices, emphasizes the typical street location. A low key lighting is prevalent due to the scene being set in the midst of the night. Sharply a jump cut draws the audience's attention away from the antagonist and to a two shot of the protagonist's, impatiently waiting at a brightly lit bus stop. 

The protagonist's are engaged in a conversation and discuss their plans to walk home, instead of waiting for the bus to arrive. Whilst they are conversing the camera will switch to a long shot of the antagonist laying in the road, displaying to the viewer what the antagonist would look like out of the corner of the protagonist's eyes. Whilst the camera shots presents the lifeless body in the road, dialogue between the protagonist continues quietly in the background and they soon notice the body in the background, just like the audience. One of the protagonists notices the body and tries to grab her friends attention, however, her friend is speaking on the phone and can not focus on what her friend is saying to her. The camera angle changes a lot within these few moments; firstly to an over the shoulder shot for this, so the audience can easily see the protagonist on the phone, as well as, putting themselves in the position of the protagonist. The camera will then changed to a long shot, showing one of the protagonists looking towards the body that is compete focus. The camera will then revert back to a basic two shot, displaying both protagonists. The protagonist that has noticed the body then make the decision to walk over to the body laying in the road. A close up of the protagonist on the phone will be displayed on screen, so the character walking over to the antagonists body will not be shown at all. At the point in the film the protagonist on the phone would have walked a little away from the bus stop, therefore the bright light produced by the bus stop will not be illuminating the scene, only the dimmer street lights. Just as the protagonist in speaking on the phone a jump cut is used and switched dramatically to an extreme close up of the antagonists eyes suddenly opening; paired with a loud crash of music the opening of the antagonist eyes will be only a duration of a few seconds, but extremely powerful. Once the the antagonist has opened his eyes the protagonist talking on phone in presented through the use of a close up. This is so that nothing but the protagonist is shown on screen.

After a few seconds of dialogue with the caller an off screen scream will be heard by the protagonist. The camera will focus on the image of a protagonist's dead body from a long shot in her perspective on the ground, presenting the other friend once on the phone, running over to the dead body of her best friends dead body. As she reaches the body, clearly distressed, a two shot displays the character's limp lifeless body in her arms. As she she questions her friends well being the protagonist coughs up blood (through the use of blood capsules). In a panicked terror the protagonist is showing through a panning shot, fleeting from the scene of her best friends murder. The light begins to get progressively darker at this point due to the time passing, pressing the action further into the night, but also because the protagonist is running from civilization, into a forest area.
The forest and surrounding street does not use any street lights pf any kind at this point. We are lead to believe the protagonist runs into the forest because it is her quickest way home and in the panic of the situation, she has opted not for the safest, most public route, but the quickest 'escape'. Due to the complete darkness of the forest, the protagonist fumbles for her phone and switched the torch on. A handheld close up convey they characters panic and also allows the torch to eerily shadow upon her face. Sounds of the protagonist heavy breathing, footsteps and distressed noises will be heard but that is all. As she travels deeper into the woods the antagonist intercepts her path; through the use of a point of view from the protagonist, or a long shot the antagonist will be presented, standing at the bottom of the foot path, in the way of the female character.

To end our thriller opening the protagonist is filmed the a point of view from the antagonist, with a little of the mask obstructing the camera lens, and focusing upon the final crescendo of emotion from the protagonist. A lingering sound will be used in the conclusion, a mixture between the shrill off screen scream of the protagonist and a non-diegetic crash of miscellaneous dramatic sound effects. Finally, a fade to black will be used to end the scene and create an ominous tension as the action is left on a cliff hanger and the colour black presents connotations of death, subsequently presenting a foreboding of how the scene continues once the film is finished.