TASK 1
Before I decided on my genre, I researched many different popular aesthetics (such as indie, royal, cottage core and more) for the overall look, feel and vibe of my film sequence and created a mood board. After consideration, 'Dark Academia' was one of the aesthetics I was looking for.
I was also attracted to a golden aesthetic, with the sun often used as lighting. This look was very appealing to me, and so I made a mood board on it and decided this golden aesthetic would also inspire me.
These aesthetics fell in line with some of the films I wanted to base my film off:
Tolkien
Tolkien is set in 1910-1930, many locations are grand and the tone is medium warm. I am not going to set my the majority of my film in that time period- it will be set in modern day. However, I have been influenced by many key shots from this film, and I will aim to reflect them. A lot of this film is also set in Oxford, which is very alike Cambridge, which many of my shots will be located at.
This mid shot, with the green background and direct lighting from the window and the warm tones from the lamp will influence my film and its aesthetic .However, I feel that my opening scene will have a grander look.
Dead Poets Society
Dead Poets Society, set in 1959, again, has a medium tone. Many recurring colours, like browns and warm tones frequently occur, as they will in my opening sequence along with golden lighting.
This opening scene is a flashback, and the film actually opens in the present time, where the protagonist is depressed, and we see how happy his youth was. The audience wanders how the protagonist ended up in this situation and we know that the film will tell us. We are introduced to the protagonist and Gatsby. Many films open with a circular narrative, and it makes the story more interesting. There is a diegetic monologue over the top (very common in opening sequences) which means that the audience is introduced to the protagonist and begins to relate to them. Non-diegetic music is used too, however a hip-hop track plays over the bustling city, going against the typical crime genre. Next, the music changes to 20s conventional music, as well as conventional crime music. Close-ups of alcohol and money are featured, which are classic conventions of a crime film. However, due to all of the historical elements, this film is also a historical fiction.
In the beginning of this scene, the narrator is seen standing behind a frosted window and it is visibly snowing. This suggests that the protagonist is in a cold, isolated place in his life- he is seemingly depressed. Then, the next establishing shot, a big booming city, greatly juxtaposes this miserable previous setting and scene. There are many quick shots of various aspects of the scene, such as birds-eye view, wide shots, pan shots and boom shots with varying editing techniques, such as dissolving and time-lapse as well as cross-cutting to show the bustling city.
We (the audience) are then introduced to the home of the protagonist, which shares the warm, bright aesthetic of the New York scenes, suggesting that he is bright and youthful, with the excitement of the bustling city. The house seems a good size, so we can gather that this protagonist was successful, seeming to contrast him behind the desolate, cold window.
At the end of the sequence, the shot pans up to a tall, dark mansion, hidden between trees, making it mysterious to the audience- they want to find out more about this mysterious character (whom is presumably rich due to the large mansion) and the protagonists involvement with them. This mansion is shown next to the protagonists considerably smaller house, greatly contrasting it, further showing the mysterious characters immense wealth and success.
It the cuts back to the setting of the contrasting, desolate, miserable house.
The mysterious mansion is like the type of setting that I am looking to have in my opening sequence.
Costume and Hair and Makeup
In the beginning of the sequence, the protagonist is wearing a suit, but it is bedraggled, showing his state of mind- lost and miserable.
When the scene changes to New York City, all of the costumes are bright and glittery, reflecting the rich era of wall street in the 20s. Many men are wearing expensive looking suits, showing their wealth.
When the protagonist is in his home, he is wearing a brown waistcoat and a bow tie, which was fashionable and trendy in the roaring 20s, showing that this character is youthful.
Next, we watch the protagonist watch girls in bathing suits, made apparent with a tracking shot. This lack of clothes suggests that the time he was living in was fun and free. The fact that they are heading toward the mansion also tells us that it was a place of these same values-fun and freedom.
When the mysterious man in the mansion is introduced, his large ring is the main thing that stands out to the audience. Due to the size of the ring, again, we know that he is rich and successful, with big ambitions. The man is wearing an all black suits, representing darkness and danger, as well as mystery and the unknown. It appears that he is wearing a red tie, representing danger, implying that when he becomes involved with the protagonist, the storyline will take a turn toward excitement and danger. Alternatively, red represents love. Later, we discover that this mysterious character, Gatsby, is in fact in love with Daisy, and him winning her back becomes the main plot.
When the sequence cuts to the protagonist, ,we can see him dishevelled again. Behind him, is a man in a white coat. White connotates innocence and religious imagery, like angels. The fact that this white-coated man is behind the protagonist suggests that all of his innocence is in the past, perhaps due to the mysterious Gatsby.
Props
There are no props shown in the opening scene of this sequence. When the sequence cuts to New York, props such as money and what we assume are bank notes are shown, showing that the characters youth was full of riches as a result of working in the bustling city. The pounds are shown with a close-up, establishing how important money was in this lifestyle. As well as this, ‘cheap liquor’ is shown being poured into many bottles, showing that the life of New York was rebellious and free, reflecting my previous point about Gatsby’s mansion. Dissolving and quick cross cuts show how much liquor there was, and how popular and relevant it was. Other props such as old radios and telephones establish the time the film is set in- the 20s. The protagonist is also shown with books, contrasting the ‘fun and free’ lifestyle shown in the city and the beach, where we see the protagonist standing with a cup of tea and books outside his home (generally these props connote dullness and mundaneness), cross-cutting between the fun beach and his seemingly dull situation after leaving the city.
Character Expression and Movement
In the first scene of the sequence, the protagonist is shown as seemingly depressed, meaning that the audience understand that something has happened to make him feel this way. Due to him looking away from the audience, we feel disconnected from him and cannot relate to him, furthermore as the shot zooms out. However, this greatly contrasts when we cut to New York, with all of the smiling and excited people, greatly juxtaposing the desolate, cold place of the protagonist in the present. Many characters are shown dancing, being free and having fun, furthermore being youthful and rebellious. This idea of rebellion is also shown from a low mid shot of girls dancing in ‘skimpy’ outfits. Next, we see the protagonist smiling directly up to the high-angle camera, relating to the audience, now making the protagonist feel like a friend. We understand he was happy in this flashback of his youth. Later, we see him watching the girls from the beach and look for where they’re going, showing that he is curious, perhaps an important character trait. We watch this further curiosity as he watches Gatsby. Then, the sequence cuts back to the present protagonist and we are interested as to what has happened to turn his excited, cheerful youthful self into this state of depression.
Lighting
At the beginning of this sequence, the lighting is dull, blue and dark, connotating depression and sadness, reflecting the mood of the character. After a bright white flash, we are introduced to bright New York, representing possibility and excitement. The various bright lights of the city screens are appealing, enticing the audience. There is bright lighting when New York is represented, and this same lighting continues as we follow the protagonist as he moves into his home, showing that his happy lifestyle in the city has followed him to his home. However, this contrasts Gatsby’s window, which is darker, connotating mystery and danger, perhaps reflecting the character of Gatsby. When we see the protagonist from Gatsby’s point of view, the protagonists house is very bright, like the city. This lighting shows the juxtaposition between the strange character of Gatsby and the cheerful protagonist. Next, the sequence cuts back to the dull, depressing present time, greatly contrasting his happy youthful self.
The diegetic sound in the beginning of the opening scene is important, as it is an unnerving news report about issues arriving in Gotham. We learn that the city is becoming filled with garbage, and we hear story’s of citizens talking about this dilemma, as well as death being mentioned. It sets a tone of unsettlement already in the film, before we’ve even been properly introduced to the protagonist (who we are introduced to pretty much as soon as the scene starts, later with an extreme close-up). As well as this, there are other diegetic sounds like sirens, again linking with death, furthermore the crime genre. Later, diegetic sound is used again through cheerful piano playing with Arthur dances to, showing he is musical- a humane quality. The final title fits in the crime genre, with big yellow letters, that completely film the screen. The title also fits with the tone of the rest of the film. Furthermore on the topic of conventions of the crime drama, diegetic sounds such as sirens and a setting of an industrial city with dark lighting are fit in with the typical crime film. However, the character expression and movement also leans more toward a drama or a physiological thriller.
Setting
In the opening scene, we see the protagonist sitting turned away from the audience, surrounded by windows. However, these widows have lines on them, resembling a prison-sell, showing that freedom is so close to Arthur but he cannot grasp it, and is trapped. Outside the window, we can see industrial bridges and buildings, showing the audience that this film is set in an industrial city. Next, the scene cuts to a an establishing shot, panning down of the street of this city, with towering industrial buildings as far as the eye can see, showing how the protagonist is trapped and surrounded. The audience understand that this is a ‘dodgy’ and poor area due to mid shots of shops going out of business, as well as specialist cinemas. Next, we see more of this area through tracking shots and pan shots as we follow the protagonist running. We know that this setting is depressing, poor and traps the protagonist.
Costume and Hair and Makeup
We understand that the protagonist works as a clown as soon as the scene opens, due to another person in the room dressed as a clown. Arthur is in a white t-shirt, representing innocence. However, his character juxtaposes this idea, creating confusion to the audience-one of the main aims of the director’s. In the next shot, we see Arthur in his clown costume, with noticeably big shoes, which later make it much harder for him to run, suggesting that he is perhaps making life harder for himself, and is the reason that he is trapped. His costume also matches the aesthetic of the film- orange and blue tones, showing that this is very much his story. His makeup is very important- he has a painted smile on, and is wearing a mask (how he is most comfortable), showing that he hides his true self from the world, and perhaps himself. He does his best to be happy and tricks himself into believing that he is. Later, when he is lying in the alleyway, his smile is still painted on, despite the character strangely breathing, and the audience cannot understand whether Arthur is laughing or crying, creating a creepy, confused representation of this character.
Props
We see Arthur painting on his own face paint, showing how he is putting a mask on himself, hiding himself from the world. In the city, he is holding a large sign, which he seems comfortable with, showing he is comfortable being a masked clown. However, when the sign is stolen, Arthur is strangely obsessive over it, suggesting it the audience that he is an obsessive person, and that he cares about his work a lot. We see the sign smashed to pieces next to Arthur at the end, reflecting his life and his broken he truly is.
Character Expression and Movement
We watch Arthur painting his mask on, showing how he hides his true self from the world and himself. It could be a defence mechanism. He is beginning to paint a fake smile on, and after he attempts to actually smile a real smile, which he has trouble with, showing how broken he is. We watch him force himself to smile, and a single tear rolls his cheek, black stained. This shows the toxic mental state that Arthur is in, and how depressed he is. The audience is greatly unsettled, and a creepy, uncomfortable mood is set. The joker seems lifeless, and due to being expressionless and we begin to understand that he is putting on a façade. When Arthur is in his element, with music, he seems truly happy and in his element. Suddenly, when Arthur’s sign in stolen, his mood changes completely to desperate and obsessive, as he recklessly chases a group of young adults over something so seemingly unimportant. When lying in the alley, a mid shot zooming out shows us how defeated he feels, but the fact that we cannot understand his emotions, due to the strange sound of laughing/crying, we cannot truly relate to him.
Lighting
There are many orange and blue tones in the lighting of this film. At the beginning, in a mid shot that slowly zooms into Arthur, we see dull blue lighting coming in from the windows, and orange lighting directly on the protagonists face. In the extreme close-ups of the jokers face and hands, there is red/orange lighting, with red connoting danger, implying that the protagonist is either a dangerous person, or will encounter danger. Alternatively, we know that Arthur slowly becomes more insane in this film, and the red lighting could signify little elements of danger from the very beginning. As he is also looking into this red/orange lighting, it is implied that the protagonist is looking into danger willingly. In the city, the lighting is dullish blue, reflecting Arthur’s dull life. It becomes darker in the alleyway, reflecting the dark and dangerous events that happen in there. Behind Arthur is a window of light, suggesting that light and freedom is close but the protagonist is turned away from it, and is trapping himself.
These establishing shots are often used in opening sequences, to set the scene and establish the mood of the film and furthermore genre, with non-diegetic instrumental music over the top. However, the director chose to leave the diegetic sounds of city in, in order to make it seem more real and relevant to the audience. Usual conventions of the crime genre are night-time, settings such as banks, police forces, illegal actions and props such as guns and maps etc. This film opening with night time establishing shots falls into conventions of the crime genre- this films genre. The titles are basic and white, allowing the audience to focus in the establishing shots. As well as this, we are not yet introduced to anybody, and that audience is able to focus completely on LA at night and the unsettling mood created.
[up to 2:40]
This scene opens with establishing shots, which is what I am considering doing for my opening sequence. The only elements of mine en scene are lighting and setting
Setting
The setting of this film is LA, a city in USA which is considered a place of possibility, often presented in an amazing way. However, these wide establishing shots present the city as dark, mysterious and desolate, which is an alternative representation than usual. We learn that it is LA due to elements such as palm trees and iconic buildings, shown with high-angle shots, low-angle shots and wide shots- all unmoving establishing shots. Many mundane elements of life are shown, such as buses and roads. However, due to the time that it is set (night( all of these bustling elements of LA are barren and quiet- unnerving the audience.
Lighting
The choice of the film being set at night, means that the lighting is dark, casting shadows and creating a dark, desolate, creepy mood, unsettling the audience. This lighting creates an alternative mood to the usual bright, happy LA. Like Joker, all of the lighting is blue and orange, setting the lighting tone for the film and giving it a specific look and mood.
[up to 2:00]
The setting of this opening is a deserted forest, which is a common convention of horror, but does work with crime. The diegetic sound of wildlife tells the audience that it is somewhere in nature before we are able to see a shot of the setting. There are close-ups and mid-shots of elements of nature which inform us of the setting. The lighting is natural, with some areas slightly darker and light peeking through the trees. However, after the diegetic song begins to play, we see that the girl (in mundane clothing) is entering a darker place of the forest through a mid-shot, and the audience becomes concerned for her, especially as we have been introduced to somebody following her through a pan-shot- a man in a black coat and black squeaky boots, classic conventions to villains in a crime film. This suddenly darkness creates suspense and fear, (conventions of the crime genre) and the audience are on edge. As the diegetic song becomes suddenly louder as the girl suspects that something is wrong (shown through character expression and movement, contrasting her peaceful state earlier when she was in her phone, used as a prop to distract her from the fact that she is in danger), there is a sudden black out, surprising the audience and then this shock is continued through a sequence of quick close-up shots of blood and struggle, and the audience knows that the girl has been killed. Within this opening scene, we learn that there is a killer on the loose and that there will be a crime to solve, falling into line with conventions of the crime genre. Due to the basic title of the time at the beginning, we know that this was in the past (flashback for opening scene) and a crime being shown at the beginning of a film (that will then be solved) is a conventional part of crime genre also. The aesthetic of this short film involves greens, browns and dark tones.
[up to 2:00]
This film is very different to usual crime film, with very different conventions. The setting is what appears to be a community hall, with diegetic boring jazz music playing, with blue and white tones, which are reflected in the main characters (who we are introduced to straight away) costumes- a blue suit and a white dress. The aesthetic of the film involve light, mundane tones. The character expression and movement is seen easily through the wide-shot of the characters, in which we see their slumped posture, suggesting they are nit interested in each other or are bored. They are very expressionless, however I believe that this is for comical effect, but it could be telling the audience that their characters are not very in depth. The lighting is almost clinical like, and provides a great frame for the wide-shot that is repeatedly used. The hair and makeup of the male character is used for comical effect, and reflects what people today would find funny in men’s hairstyles. The moustache does reflect a common connotation of crime movies however, as many characters classically have moustaches. The woman has very red makeup on her face- perhaps reflecting the stereotype of ‘brushing bride’ that is found in romance films, as opposed to crime. The baked beans are a comical use of props, as well as making the shirt film more comical. Due to the fact that the protagonist male has killed his grandma and chopped her into pieces, the fact that they are doing such mundane things such as eating baked beans, ground the story to be almost relatable to the audience as opposed to usual crime films that are not casual but very intense. Overall, the opening scene of this short student made film is a crime film due to the crime committed, but is more alike a comedy film and does not match many classic crime conventions.
The film opens with super close-up of an old masked man, introducing him to the audience. They become interested in this character as he is mysterious due to the shot and costume choice. This short film is mainly set in woods, shown with various shots following a some boys in mundane costume, representing them to the audience as regular people, also supported by the prop of a normal backpack. The natural lighting tells the audience that this film opens in the daytime. When the sequence cuts to the contrasting msn in a black coat (common convention of crime and suggesting that he is dangerous and mysterious) with a man in a white shirt (suggesting innocence) as his hostage (crime convention), thus creating a contrast between the two narratives, and the audience understand that they will likely cross paths and are most likely interested in how this will turn out. The character expression and movement if the boys show that they are frustrated, due to becoming lost, but they are still seemingly relaxed, greatly contrasting the man and his hostage, as he is hurriedly lacing down the path, with his fearful hostage, aggressively nudging him and shouting at him. Non-diegetic music is used to create suspense. The audience understand that two regular boys are likely to run into a dangerous situation in the middle of the woods. There doesn’t seem to be a specific aesthetic to thus film but it is clear that the genre is crime, due to many featured conventions.
TASK 2
Location
There will be three different locations in my sequence.
After research, I decided that Norwich Cathedral would suit the aesthetic that I was looking for. The gothic, old architecture would show the audience that this film is not set in modern day, and that it is a historical film. I want my sequence to be aesthetically pleasing, and the grand architecture, with brown and golden tones will enable this. As well as this, the buildings are engulfing and towering, making it appear as if my protagonist, Isolabella, is trapped, contrasting a separate, open beach location. The grand architecture will also show how the protagonist is leading a wealthy lifestyle. My protagonist will be filmed from behind (to create a sense of mystery, linking to crime) with wide/mid shots in these locations. I visited the cathedral before filming, to ensure I was able to access where I wanted to film. These settings will provide establishing shots and set the aesthetic and time period of the film.
Norwich Cathedral
My second location will be a field, in which my protagonist, and the victim will be lying on silk, reflecting wealth and it was also be aesthetically pleasing. I will film many close-ups and extreme close-ups of my protagonist, Isolabella (Eva), and the victim, Amala (Amelie) with golden lighting from the sun and silk as a backdrop. This is where she will murder Amala and steal her locket. I need to ensure that the weather is dry and sunny when filming these shots.
The third setting is a beach (Cromer) at sunset. Through pathetic fallacy, the sunset will represent how the protagonists life is getting darker, as she is becoming closer to death. Eva (Isolabella) will be running, bedraggled and with the locket round her neck. The beach is open and represents how Isolabella feels free- no longer trapped in the world of wealth. The beach and sunset will provide golden and orange tones, matching my films aesthetic. My film is based off this picture by Edvard Munch.
Young woman on the shore, 1896 Edvard Munch
At the end of the sequence, when the music suddenly calms, Eva will be shot from behind in a mid-shot, reflecting this painting, looking out to sea on the beach, and then she will walk into the water, and drown herself, locket in hand. I chose this beach due to the pier, which I can stand on to get aeriel shots.
Character Profiles
Isolabella:
Isolabella, played by Eva, is 16-18 years old. She was born out of wedlock, and is wildly jealous of her older half sister, Amala, whom was not, and got the life full of riches and love that Isolabella feels she deserves. She drives herself mad with envy of the innocent, perfect sister, and kills her, stealing her locket of freedom, given to the rich and respected in the enclosed society that they live in. ‘Isolabella’ means the beautiful lonely one. She is lonely, and kills her sister and only friend in order to be free of her suffocating kingdom. Due to being driven wild with envy, her character (who perhaps was once kind like her sister) has turned manipulative, self-obsessed and impulsive.
After being free, and escaping this kingdom to a beach, she realises that her whole life has led up to her leaving, and now that she has run away, she feels that she no longer has purpose, and is lonelier than ever, having murdered her only friend, and so she kills herself.
I want my film to have a circular narrative, but my opening sequence will have three different points of the film cross-cutting. The audience will question why this murder and suicide (this film is in the crime genre) have occurred, and of course the film will tell the story of the downfall of Isolabella, answering all of the viewers questions.
Amala:
Due to Isolabella being rejected by her traditional society (as she was born out of wedlock), her only friend is her perfect half-sister, who is kind to her despite the shame that Isolabella has brought on the family. Amala is widely loved and respected- she is perfect. She is 18 years old. In my opening sequence, we won't learn much about this character, as we will only see close-ups of her, and then her being murdered. However, in the film, we will discover that she isn't as perfect as she seems, and has her own issues, but always remains faithful to her sister. Amala means beloved and bird- she is loved in her kingdom, and is as free as a bird, due to being rich, respected and owning the locket of freedom.
Casting Justifications
Eva- Isolabella
Amelie- Amala
My cousin Amelie is 18, fitting the age of her character, Isolabella's older half-sister. The reason I chose to cast her is because I know she is comfortable on camera, due to her hobby of photography, in which she is often behind and in front of a camera. As well as this, she is beautiful, reflecting this image of perfection and beauty in her character, Amala.
Props list
1
This silk will be used in one of my scenes, the field, where Eva and Amelie will be lying on it. The splash of dark red blood on this pure white will create a dramatic effect, and establish its genre of crime.
Costume list
1
2
Amelie will be wearing this sage green dress. A place for Amala to escape and look for solace in later in the film is her garden and nature. This green dress shows how connected to mother nature she feels, especially as it will later be shown she has a difficult relationship with her own mother (despite it seeming perfect). The dress is beautiful and perfect, like Amala. Also, it is decorated with lace, presenting her as delicate, unlike her sister. Furthermore, this lace makes her dress a lot more intricate than Isolabella's plain white dress, showing Amala's wealth and status in society.
3
This is the locket of freedom, given to the wealthy and well-respected like Amala. Amala will be wearing it in the silk scene, where Isolabella will steal it, and ultimately kill her, then using it to escape their kingdom, leading to her own death. This locket, and Isolabella's capture of it will be one of the driving stories in my film, and will be Isolabella's main motivation. The red ruby represents danger, as Isolabella kills her own sister to steal it. However, it also represents love, and how Amala and Isolabella misunderstood each other. How if Isolabella had looked past her hate for her situation, and had stopped blaming her half-sister, and allowed Amala to love her, as well as truly loving her back, she might've realised that the 'perfect' Amala was just as desperate to leave as she was. In the end, I had to use this necklace in place of the locket.
Shooting Diary
I had to ensure that it was sunny when filming, as many of my shots relied on sunlight for lighting, making it difficult to arrange times, but I managed to do it! Luckily, I go to school with my cast- Eva and Amelie, meaning that we are in a school bubble together. However, I could not travel too far, due to Covid-19 restrictions, which I had to keep in mind.
April 12th
April 22nd
This was a last minute date, as we were originally meant to shoot April 24th, but the weather changed to rainy. I want my shots to have the lighting from the sun, so I had to change the day to when it was sunny. Last minute, I decided i wanted to go to different beach- Winterton, as it feels more wild and desolate. Luckily, the beach was not very crowded and so, other than waiting for a few people to pass, we predominantly got shots uninterrupted by people in the way. My actor, Eva, handled this well and despite it being cold, played Isolabella brilliantly.
May 4th
In order to get the shots of Amala and Isolabella together, I met them both at a park which I had previously gone to in order to get shots of them on grass. It was sunny, and I went in the evening to get sunset lighting, making it more orange. This meetup was successful.
Problem and Solution
I ran into a problem as the locket didn't arrive on time, therefore I used a different necklace which still worked well. As well as this, it was simply to cold, due to the time of year, to film the ending scene (Isolabella lying in the water), so I would have to wait until it is warmer to do this successfully.
Script
In my opening sequence, there will be no dialogue in order to keep the element of mystery- a main convention of the crim genre. There will only be a soundtrack playing (Experience by Ludwig Enaudi)
Here is a sample of my script for a later scene:
AMALA
Have you seen?
Isolabella lifts her head, looking at Amala
ISOLABELLA
What?
AMALA
I have finally got it!
Amala excitedly lifts the locket from her neck, smiling and admiring it
AMALA and ISOLABELLA
The locket.
As they say this in unison, Amala is excited and Isolabella says it bitterly, suddenly standing to face her sister
ISOLABELLA
So- so you can leave?
She takes a step closer
Her voice becomes more sinister
ISOLABELLA
Now... right now?
She takes another step closer, and is only a few inches from Amala
She reaches for the locket
Amala breathes heavier, becoming nervous
AMALA
I... suppose
Isolabella takes the locket in her hand, and begins pulling it slightly. Amala becomes uncomfortable as the locket pulls on her neck
Isolabella stares intently at the locket, Amala's pain gradually increasing
AMALA
okay Isolabella- that's enough now.
Isolabella doesn't respond, she is stills staring at the locket intensely.
Tense music begins
AMALA
Isolabella! Stop now.
Amala begins struggling and leaning away from Isolabella, who still has the locket in her grasp.
AMALA
Stop!
Amala pushes Isolabella away. Isolabella lands on the floor and is breathing heavily, overwhelmed
Amala stands over her with her hand on the locket and neck, panting and catching her breath. Isolabella sits in silence
AMALA
What's wrong with you?
Isolabella stands, calm. She places a hand on Amala's shoulder, smiling as if nothing has just occurred
Amala looks at her, frightened
ISOLABELLA
I'm fine, sister.
Storyboard
Plot Synopsis
Isolabella is trapped in her suppressive kingdom after being born out of wedlock. There is only one way out: The locket of Freedom, only given to the rich and respected.
Everybody loves Amala, Isolabella's half sister.
When Amala is given the locket of Freedom, Isolabella can see her way out of her stifling life. Amongst romance, status and rivalry, Isolabella attempts to grasp her only opportunity at freedom, and will do whatever it takes.
TASK 3
Images on set
My final piece:
