Location:
Low-tide at southbank beach, waterloo bridge, miserable day and naked trees.
The low key lighting suggests a melancholic mood in which michael reflects on his life and ultimately the setting reflects his dull and miserable life. It is also a common London landmark, giving a sense of regional identity


Location: A school lobby, this is where Michael's bullying takes place, and relates to the school uniform he wears. It is a stereotypical modern school, which may cause apathy with an audience as it may look like a school they have or do go to.

Characters

Michael - A teenager who is a victim of bullying and sees a new light - played by Gary Salem.

i)Dressed in school uniform, scruffy dressed with scruffy hair. 

ii)Dressed in own clothes, all black.

April - Michael's only friend, her death motivates Michael to become a vigilante - played by 

Dressed modestly, nice clothes, makes Michael look scruffy.

Bullies/Students - Give Michael a hard time through school, bully him everyday - 

audience

all types of thrillers are normally classified as 15 or 18 on the BBFC this is because of the conventions of thrillers. we are making a crime thriller and the target audience for these films are normally 25 + but we are going against the norm with targeting for the late teens we are aiming for it to be classified as a 15 and will change it to suit the description. this means we can include the taking of drugs as long as we don't promote the taking of them. There may be the frequent use of strong language for example "fuck".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. 

Crime Thriller

The crime thriller genre uses a sub-genre of crime and is one of the most popular sub-genres used in film and television.

  The stories in these crime thrillers often involve twisting plots, murders, robberies, shootouts, double crosses and chases. as the name suggests, crime plays a big part in the film and so the majority of the time detectives, inspectors or other police roles are involved in preventing the criminals activities.

Thrillers in general can be classified from 12 to 18, however crime thrillers contain more confusing plots and so tend to not be suitable for an audience of under 15.

  The audience of thrillers enjoy suspense, cliffhangers, enigmas and other literary devices, all of which are common traits of the thriller genre, particularly the crime thriller.

There are many different sub-genres of the thriller, all with the audiences varying from film to film. the sub-genres of films with a less confusing story line and twisting plot like the disaster thriller or spy thriller attract a much younger audience than film with confusing plot like those with a conspiracy theme or a drama thriller.

Research History of a Thriller

A thriller is a broad genre of literature, film, television and gaming that includes numerous and often sub genres. Thrillers are characterized by fast pacing frequent action and resourceful heroes who must out think and make plans to better and out smart the villain.

The film makers have been putting these elements together for almost as long as cinema itself has been around .  With the first audiences quickly tiring of the technical marvels of the new fangled marvels, directors where looking for more creative ways to thrill their viewers.   Borrowing a few things from the hugely popular serial writing, producers began to creat weekly installments of long running series, each ending with a cliff hanger end that would see the hero in deadly danger to intise the audience to tune in next time.  The most famous of these was the 1914 series “Perils of Pauling” famous for featuring a villianous “cad” tieing a helpless women to train tracks as a train was approching.

Film series were still popular as films began to incorparate sound , in what was called the ‘talkies’ films became more complex in dialog and plot lines.

Originally a novel written by john Butchan and published in 1915 was then made into a black and white film in 1935 by Alfred Hitchcock This was the first Hitchcock film based upon the idea of an "innocent man on the run," such as “saboteur” and “north by north west”.

The car chases, the acrobatic fights sequences and the set piece pursuits in foreign locations.  It is a rounded character study you want and then you look elsewhere.   That is way the finest thriller film-makers tend to be master at telling stories with griping story lines that captivates you from start to end and who give up showy displays of acting. .   A few  like Hitchcock, John Frankenheimer and Michael Mann being prominent examples. 

 

Thrillers must not always necessarily depend for its excitement on overstated action scenes.  In the late 1940s the field toughened up and dressed down with a string of magnificently bleak urban crime stories that the French critics would later label film noirs.  The movies like “The Big Sleep”, “Out of the Past” and “Double Indemnity” Fedora wearing trench coated figures would stalk city streets at night solving mysteries that were as impenetrable as their obscure surroundings.   The plots were intense and complex, and the mood was suspicious and hard-bitten, perfectly in step to the weary post-war mood. 

The film noir awareness resurfaces intermittently, mostly notably in 70s gritty crime thrillers like “The French Connection”, “Chinatown” and “The Long Goodbye” which survives in the work of independent minded Directors like the Cohen brothers (whose latest movie “No Country for Old Men” is a rare mixture of thriller with western. 

 Screen shot of a part of the film in which the thriller genre is being seen . the film is from ‘No Country for Old Men’

It is in its glossy high concept form that the thriller dominates today.  For film-makers fascinations with explosive action sequence, cool new technology and dazzlingly twisty plotting, especially after the popularity of clever –layered espionage TV shows like “24”.  The essence of these tendencies  is probably the latest “Mission Impossible” installment and the fact that this bloated, insanely expensive Tom Cruise movie did not live up to its expectations may suggest the thriller must go back to basics it is to prosper in the film industry.  

Conventions of opening sequences

Conventions of opening sequence

Opening sequences are seen in all pieces of film and television in every genre and style of media, however all opening sequences follow a similar common formula and contain the same conventions and elements. The thriller genre in particular has a very formulaic structure in it's opening sequences.
The common conventions seen in thrillers' opening sequences include builing suspence, this utilizes various techniques relating to narrative, mise en scene, cinematography as well as sound and editing.
Commonly, the opening sequence helps establish the diagesis in which the film takes place, the norm is established and the disequilibriem, is hinted that. Usually, particularly in crime thrillers, a smaller disequilibriem is established and solved in the beggining of the film, giving an impression of the competience or background of the character before they persue the main storyline. In more action orientated media, the piece may begin with a fight scene or chase, this excites the audience, letting them know the kind of action to expect later on in the film.

Audience
The BBFC Classification Guidelines

These guidelines effect everything in film and the world of cinema as these are the company in which decides to which section it will be in either a U,PG,12,12A,15 or an 18 . They decide what to classify the film by on the behalf of the local authorities who license cinemas under the licensing Act of 2003. As the BBFC has the right to carry out its responsibilities through appropriate use of categories as in particular in order to protect children from any harm which may be caused, if necessary however the BBFC may cut of even reject a film or video work if they feel that it is just unacceptable they do this by look at the guidelines of intervention.

As when you apply for the passing of the BBFC guidelines there are three main qualifications in which you have to take into consideration which are:
1: whether the material is in conflict with law or has been created through the commission of a criminal offence.
2: Whether the material ,either on its own or in combination has the same combination with others have a similar nature as if the content causes any harm at the category concerning . As when you are making your film you have to take into a consideration that it not include any harm in the film that will cause any harm that may result from the behaviour of potential viewers but also have to think about any moral harm that could be caused , as that the fact that when they watch it is distressing for viewer and it degrades the view sense of empathy as this is unacceptable such as encouraging a dehumanised view of others and suppressing an anti social attitudes and reinforcing an unhealthy fantasies.
3: Whether the availability of the material in contend at the age group concerned is clearly unacceptable to broad public unacceptable to broad public opinion. It is on this ground that the BBFC intervenes in respect of bad language and this is why they have there different guidelines for each film.

As when you think about filming there are many acts in which you have to consider such as Human Rights act 1998 as this is the act in which you have show respect private and family life and give the right for freedom of expression . The Obscene Publications Act 1959 and 1964 as it is as rule in which as it illegal to publish work which is obscene and seen morally wrong. As well the rule of criminal justice and immigration act 2008 as it against to show images of pornographic images as the images is to often to hurt a person this is seen by a the BBFC as offensive and is excluded from scope of the offense.

The categories




A U film

U is for universal as these types of films are suitable for all ages as in each section as there is no discriminatory language or behaviour. There’s is no reference to illegal drugs or drug misuse as there is a message that comes across that anti drugs that drugs are not suitable for children , as the can be scary sequences but this should be mild and the outcome should be reassuring and everything is resolved. The behaviour of all the character should be prefect as the should be no bad behaviour which children are likely to copy. The themes should problematic where a problem is resolved.



This is an Universal film called Madagascar this is suitable for all ages

A PG film

A PG film is a parental guidance general viewing but some scenes may be unsuitable for young children. As Discriminatory language or behaviour is unlikely to be acceptable as discrimination by a character by a character that children can identity is not acceptable. There should be no reference to drugs or drug misuse as there should be an anti drug message, as there should be no frightening sequences and if there is it should not be prolonged. As well as this there should not be dangerous behaviour and no unacceptable weapons. As the themes must not show unacceptable behaviour but some issues can be brought up.



This is a PG film call ice age it is suitable for a parental guidance general viewing

A 12/12a film

The film 12 is suitable for the ages of 12 years and older. Discriminatory language and behaviour must not be endorsed but is allow, aggressive language and behaviour is unlikely be acceptable unless clearly condemned. As drug use must be infrequent and should not be glamorised ,as moderate physical and psychological threat may be permitted but not disturbing scenes are not allowed. Behaviour such as hanging or suicide should not show that this could be copied but is allowed. Sexual activity must be brief and suitable for young teenagers as the themes are allowed to mature but still acceptable for young teenagers





This film is a James Bond film Casino Royale which is acceptable for 12s and over’s

A 15 Film

This is film is only suitable for people over the ages of 15 and older. On the whoel the work must not endorse discriminatory language or behaviour there is allowed to have shown drug taken in the film however the film must not promote drug misuse. The issues of strong threats and menace are allowed but should not be sexualised; weapons are allowed in the film however they should now be glamorised. The language use may be strong language, however aggressive or repeated use of strong language is unacceptable. The themes which can be used have to be appropriate for that of the age of 15 years old. The use of violence may be strong but not highlight the fact of death and sexual violence is unacceptable.




This a film called rock n Rolla this film is a 15 it acceptable for those 15 and older

A 18 film

These films are suitable for the people of 18 and over. There are no real guidelines for these films as people over the age of 18 can watch what they like and watch what they want. However they still have to stick to all the legal requirements as they can’t be against the criminal law and show images of explicit sex and damaging images against people human rights and that of which are morally unacceptable.


This is a screenshot from an 18 film called American History X




For a Thriller genre the most acceptable certificate rating for the thriller genre it will be either 15 or 18 as in these you are allowed to use the aspects of the thriller genre in these certificates as you cannot create a thriller drama in a U, PG or 12 certificates. So most suitable for a thriller drama is 15 or 18 classification certificate.
An 18 certificate rating for a film would enable the film producers to include more explicit content and thus make the film more ''thrilling'' so to speak. However, by doing this, the producers and the management of the film are restricting their audience as opposed to the audience of a 15 certificate rating as there are less people able to watch it as the age restriction is older.
As we have made a film with enough explicit content to be classed as a 15 but is too mild to be classed as an 18, we are aiming our film at an audience between the ages of 15 and 25, predominantly male however our film isn't gender specific.

Script

Script
Scene; Michael is alone in a dimly lit bathroom, looks in mirror, splashes water on his face.
Flashback begins, in black an white. River scene, poor weather. Michael walks down through crowds. Stands at the bank, bridge over looking water.
Another Flashback, school scene, characters in uniform, general bullying, pushed around ect.
Back in bathroom, Michaels anger is shown, punches wall, looks to mirror.
Flashback returns to river/bridge scene. Contemplates jumping, hears scream. Figures across from him, man runs away. Female figure falls.
Bathroom, looks in mirror, tears.
Back to river. Michael runs through crowd, April dead body, kneels beside her.
School scene. Crowd of bullies, Michael is pushed down. Crowd leave. April approaches, begins to help him up.
April: (concern) Are you okay?
Michael: (hurt) Yeah, I just.. (gasps)
April: Don’t let it get to you, things always get better.
Michael: (Rises) Thats easy for you to say?! Everythings fine for you! When?! When will they get better?
April: (stands) Things always get better. Look outside, there’ll be snow and rain and storm, but the sun will always shine again.
Flashback. April is dead, Michael kneels beside her. Grey sky. Miserable.
Bathroom. Stares at reflection

sub genres

Thriller subgenres

A subgenre is a variation of an already established genre. Used by audiences and institutions to further distinguish between genre products. They will share some major codes, conventions and iconography of the main genres, but will have many easily identifiable ones which make it unique.

There are many types of subgenres for thrillers here are just a few:

Ÿ Action thriller: In which the work often features a race against the clock, contains lots of violence, and an obvious antagonist. These films usually contain large amounts of guns, explosions, and large elaborate set pieces for the action to take place. These films often have elements of mystery films and crime films but these elements take a backseat to action. Notable examples are the more modern  James Bond films and The Transporter. 

 

ŸPsychological thriller: In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. This is possible the most famous type of thriller sub genre as Sir Alfred Hitchcock made many films most notable is the film psycho with the very famous shower scene.

ŸConspiracy thriller: In which the hero confronts a large, powerful group of enemies whose true extent only he/she recognizes. Such movies include JFK and The man who knew too much.

ŸSpy thriller: In which the hero is generally a government agent who must take violent action against agents of a rival government or some sort of world terror. Examples include From Russia, with Love  bourn ultimatum and mission impossible.

 

ŸErotic thriller: In which it consists of erotica and thriller. It has become popular since the 1980s and the rise of VCR market penetration. The genre includes such films as Basic Instinct.

There are common themes in all thriller subgenres such as:

ŸTerrorism

ŸPolitical conspiracy

ŸEspionage

ŸPursuits

ŸDangerous romantic liaisons

ŸPsychological crime

ŸSupernatural disasters

 

 

These are just a few of the many sub genres and themes of the thriller genre with new ones being made all the time.

Thriller Conventions

The thriller genre, commonly seen in television, film and theatre is a tradion defined by many characteristics. Thrillers generally are fast paced, utilize suspense with frequent action and make use of narrative devices such as red herrings and cliffhangers. Regardless of subgenre, thrillers generally the same basic formula.
Characters are an important element in any Thriller, with traditional thriller protagonists and antagonists fitting a specific formula. The stereotypical thriller hero is generally a savvy and resourceful character who takes on a powerful and strong villain, in the form of an individual, organization or group. This hero is commonly a hardened law enforced, detectives, private eyes and police officers being the traditional mould of a protagonist, who are generally men, however women are becoming more and more commonly found as heroines in modern thrillers. Thrillers, particularly the tragedy and film noir subgenres often climax with the death of the hero as he or she defeats the antagonist. The villain is commonly wealthy and in a higher position of power and social standing than the hero, corrupt government officials and evil dictators being a common portrayal of the antagonist. These conventions can vary greatly depending on subgenre, the ‘antagonist’ takes the form of a bacterial disease in the film “
Thrillers also use specific techniques in the course of their narrative. Cliffhangers and red herrings are two popular traditions used in thrillers. A cliffhanger is the act of placing the protagonist in a precarious, or dangerous situation or dilemma before ending the scene or in some cases the film as a whole, this builds suspense as the audience is left on the edge of their seat wondering the fate of the character, it can be used to make the audience ponder how the situation will be resolved, or to set up for a sequel. A red herring is a plot device or character who draws suspicion diverting attention from the true guilty party, an example of this is seen in Hitchcock’s ‘Psycho’ as the murdered wears womens’ clothing making his dead mother seem to be the cause of the deaths.

Norman Bates from Psycho (above) is a typical example of a of a thriller antagonist.


A Thriller it’s self is defined by the emotion it envokes to the viewer. It is defined as a piece of media that “thrills” the viewer, suspence and fearful excitement being two of main feelings the director seeks to make the audience experience.

By definition, if a thriller doesn't thrill, it's not doing its job.
—James Patterson, June 2006, "Introduction," Thriller