1. Treatment for ‘Tamam Shud’
07.04.16
Brush Productions - Jack, Sharon
Edited (23/5) - Gabby (in red)
It is proposed that the film will be a montage of shots on a secluded beach. These
shots will feature close ups of a dead body and objects with ambiguous meanings.
He will be holding a note that says ‘Tamam Shud’. This will create enigma as to the
origin of the body and the meaning of the note and establish a non-linear narration.
We want to create an ominous and still atmosphere in the opening which also builds
suspend therefore wanted to film on a beach as it not only aligns with the story we
are basing this on, but also to break thriller conventions as it is typically a tranquil
setting. We want to film at Muriwai, as it is a black sand beach that can be quite
overcast in the middle of the year, which will set a moody setting. Furthermore, it
would have quite striking establishing shots for us to capture. Filming in one place
would keep it simple and more effective, especially as the opening sequence will be
roughly 1.5 minutes long.
We’re no longer using ambiguous objects, instead we’re going to use features of the
setting (Muriwai beach), such as the cliffs, sea, sand, and grass for the credit
sequence, and then closeup shots of the dead man’s body for the next scene. We’ll
also be utilising the early morning lighting to add to the ominous, isolated mood.
! !
Muriwai in the early morning
We are basing our opening on the highly prolific unsolved case of the Somerton man.
The note is a reference to the note found in a sewn in pocket of the unidentified man,
which reads ‘finished’ in Persian. It came from a rare Persian book of poems. He was
also found on a beach early in the morning. The opening is a loose interpretation of
the scene that day.
We’re still sticking to this influence, but with the note, we’re going to have less heavy
and bulky font.
The note found on the
Somerton man
2. Films We Were Influence By
The aesthetic of the mise-en-scene was very influenced by ‘The Piano’, which,
although not a thriller, had a very overcast beach setting that was similar to the mood
we envisioned. It also features shots set on a New Zealand beach and created a very
striking scene that aligns with the melancholic tone we wanted.
We were also influenced by the opening of Shutter Island. The choppy wind and the
low key lighting are elements we want to incorporate into our opening, as well as the
eye-catching scenic shots of the island. The costuming was also very effective as it
was a neutral colour scheme that made the characters look normal on the surface.
This is therefore more relatable as an ‘everyman’, which is something we want to
feature in our opening for our character. The diegetic ambient sound of waves
crashing also added another layer of realism and mood we want to emulate with
softer waves.
Screenshots from Shutter Island
We’re moving away from the influence of Shutter Island, instead looking for
something more calm (no choppy wind), but we still like the neutral colour scheme.
The neo-noir Brick also influenced our creative process. We want close up shots of
the dead body, such as the close up of a hand to create ambiguity and a more
menacing atmosphere. The muted colour scheme and subtle blue filter also adds to
this and is something we want to incorporate. The costuming here is also very
mundane and yet distinctive, which is something to take into account. The
background music is very eerie yet tranquil music which will be
something similar to what we want to have when composing our backing music.
Screenshot from ‘The
Piano’
3. Screenshots from the film ‘Brick’
The establishing shots in the TV show Broadchurch also had a similar scenery to the
one we envisioned. The large cliffs and rocks created a striking contrast to the rest of
the beach and the way this was shot is similar to how we want to make our opening.
The opening sequence of Broadchurch and an establishing shot of the beach, respectively (we would
employ low key lighting in regards to the second picture)
Character names and their motivations/representation in the film:
We wanted to minimise the need for acting in our opening as much as possible, as
our minimal ability and experience in acting could drag the sequence down by
making it seem less professional and polished. By having one character, the dead
body, we not only have little to no acting, it also helps add mystery and uncertainty as
no information is disclosed as to how the body got there and why. This keeps the
audience’s attention, establishing suspense and apprehension, a defining feature in
the thriller genre. The body will be dressed in mundane clothes that give little away
about his occupation, and are relatable to the audience. This normality is common in
thrillers as it creates tension and suspicion from something the audiences are familiar
with.
We’re continuing this, and have chosen a plain, nondescript suit with a red tie. We’re
also going to avoid obviously showing his face, firstly to make him seem older and
secondly because our acting is bad.
Mood/Tone
We want to create a mood equilibrium, something often present at the beginning of
the film, despite our non-linear narrative. This creates more uncertainty as the mood
would be unexpected and ambiguity as, again, nothing is given away as to the origin
of the body.
Lighting
We will incorporate low key lighting as it is a common thriller convention found in
most films. It brings enigma and suspense to the scene as it leaves out parts of
vision and taking away the ability to see something can cause fear or interest. It sets
up a moodier atmosphere influenced by film noirs and typically implies negative
undertones. Similarly, chiaroscuro lighting is also a take from film noir and creates
more dramatic and striking visuals, something we want to incorporate into the
opening sequence. The stark contrast between light and dark gives the shots more
dimension and makes it more dynamic and visually appealing to the audience. In
thrillers, it also implies that there is more than meets the eye, as the dark parts of the
shot are obscured. This adds ambiguity and a multi-faceted aspect to the character
and story.
4. Due to the location, we’re going to have to use the natural lighting. We’re going to
Muriwai around sunrise, so hopefully there will be chiaroscuro/long shadows from the
low sun.
Camera angles/shots/movements
Close ups of the body among other things will create enigma, a concept popular in
thrillers. Because only partial shots of the body is shown, the audience get a sense
that there is more to the story. It furthermore implies that these shots may be hints
and again, maintains mystery.
Low angled shots of the body to show it is important/dominant part of the scene,
brings the audiences eyes to it and nothing else. Also, low angle shots of the cliffs
surround the beach would make the setting more threatening and maintain the tense
and intimidating mood.
Wide shots provide a sense of isolation to the audience as it will be in an enclosed
beach with cliff edges. Isolation in a thriller is commonplace and it helps the audience
focus on the events happening and create anxiety as there is the idea that no help
can reach them. This links in with the feeling of hopelessness and cynicism in thrillers
that was heavily influenced by the pessimistic film noir genre. Furthermore, wide
shots on an isolated beach are visually striking and on an overcast day, will portray
the mood well. Establishing shots will also be used for this purpose.
Sound and Music
The ambient sound of waves, wind, birds brings a sense of realism to the situation
and adds that serene feeling to the scene, almost serving as contrapuntal music. It
therefore creates conflict as to why the mood is so calm despite a dead body and
builds anticipation and curiosity. It also makes the scene more aesthetically
appealing. ( ͡° ͜ʖ ͡°)
Towards the end, we want to incorporate eerie music, and perhaps feature it subtly in
the beginning as well. As aforementioned, it will be similar to Brick due to the
ominous yet sobering tone it set and the way it meshed more fluidly into the
sequence. Adding it in more prominently towards the end will build tension and
signify the end of the sequence. Once the screen goes black, the music will continue
as a sound bridge, often used in film openings and also to keep the mood sustained
after the sequence is over.
We’re decided to go with a classical score, as not only is it eery and calm, but Sharon
has experience with creating classical music.
Editing
In the editing process, we want to add a subtle blue filter, again, as aforementioned,
for a more muted colour scheme. This colour has more negative connotations and is
common in thrillers - as cool toned filters are often used to portray the cynical mood
e.g. directors such as David Fincher and Christopher Nolan.
We want to incorporate superimpositions into the editing as well. This creates a
seamless and more continuous narrative despite the non-linear aspects i.e. the body
turning up with no context. It also stretches out time, dragging out the scene and
adds to the mood equilibrium we want to establish.
Use of Credits and Logos
5. The credit font will be simple and bold, to not to interrupt the mood and also to be
more visually appealing in conjunction with the setting. How this will be incorporated
is yet to be determined but at the moment we want to have them fading in at the
beginning. A serious font will signify the somber mood and is typically used in
thrillers.
We’re wanting to incorporate a font similar to the one used in Fargo, which is simple
yet effective in the negative space of the frame.
The logo will be in the beginning against a black screen. It will be animated to be
more dynamic and will fade out to seamlessly integrate into the rest of the film
sequence. Exact details are yet to be decided.
Problems Encountered
We will be filming on a beach, early in the morning in the colder seasons. The
complications with this is the unpredictable element of whether there will be other
people there, as we want to have an isolated beach. Hopefully this will not be an
issue as the temperature would have dropped and we want to film early in the
morning when the light is more unchanging and lowkey. Another issue is whether we
are not too cold :c, especially the person would will be lying near the water
pretending to be dead, as they cannot move around as much. If it is windy it could
interfere with sounds we try to capture, but should not be too much of an issue due to
the fact we have no dialogue. One big issue will be the footsteps we leave behind in
the sand, as we want the beach to, again, be isolated and lots of footprints
surrounding the body will clash with our concept. We have to consider the safety of
our equipment as well, as we will be filming near the water and must take precaution
to make sure any equipment is not damaged. We will ensure we film on stable
ground with no hazards and where we are not too liable to the elements. Transport
wise, as we are leaving early, we are planning to stay at one house overnight to
leave first thing in the morning. One of our parents will drop us off.
Synopsis
Sequence opens (after logos) with establishing shots of an isolated and overcast
beach. Credits fade in and out in conjunction with these shots. Panning towards the
cliff and cut to shots closer to the cliff. Only ambient sound of waves and wind at this
stage, perhaps birds. Superimpositions of closeups of the body appear, and eerie
music fades in. The sequence ends with a close up of the body holding a note
reading ‘Tamam Shud’. The background fades out and the text ‘Tamam Shud’
remains. Music plays on until fade to black.
