1. Kaya
Narrative P
Our film is closed narrative, Why?
• Our film is like reading a book, it goes to a start to an end – the film doesn't
have a cliff hanger, just a solid ending where the story of Laura’s life ends
• The film doesn't leave the audience asking questions, it leave the audience
with the statement that drugs will end up killing you and you should never try
them
How has it changed since Draft 1?
• In our first draft because we has a completely different story it has changed
from the film ending in a cliff hanger being a open narrative, to a closed
narrative sending out a message for the end of the film because before we
wanted the audience to question what happens in the film and create their
own ending according to what they saw.

2. Kaya
Narrative P
Our film is linear narrative, Why?
• Our film is a story that goes from start, middle, to end to tell the story of
Laura’s drug use.
• Although there are flashbacks, they are only very short and not the main basis
of our story
START MIDDLE END
How has this changed since draft 1?
• Although the story is different from draft1, we have always kept a linear
narrative as we want to make a film that tells a story from start middle to the
end because we think its more understandable and a better way of presenting
a story effectively

3. Kaya & Sanel
Film Theory Q
Tzvetan Todorov – Narrative Film Theorist
How we will be using his theory…
Equlibrium – Before Laura tried the drug, she was doing well at school and had a promising ‘
. future ahead of her and everything in her life was where it should be
Disequilibrium – As soon as she was introduced to the drug her life just went downwards at
. a rhythm that just went worse and worse, until she eventually dies.
New Equilibrium – There is no new equilibrium as our film ends horrible with Laura dying in
. A bad state with no friends, or anyone to help or support her in her time
. of need

4. Kaya
Film Theory Q
Vladimir Propp – Film Theorist
Why we wont be using his theory…
The villain – No-one in our film intentionally tries to hurt or ruin anybody
The dispatcher – This doesn't apply to our film at all, there is no hero to send off
The (magical) helper – No-one in the film does, or even try help Laura in her struggle
The princess or prize – There is no prize and its based on real life
Her father – She doesn't have a father, it’s a broken family
The donor – The film is based on real life therefore no magical objects
The hero or victim/seeker hero – There is no hero
False hero – There is no hero therefore no false hero

5. Kaya
Film Theory Q
Claude Lévi-Strauss - Narrative Film Theorist
Binary opposition
How we will be using this theory
Good life : Bad life Real life : Fantasy Good trip : Bad trip
Laura’s life in the We see Laura’s life The first time
beginning was throughout the Laura tires the
whole film the way drug she has a
good and anyone around her
promising good trip and has
would
fun
However we also
see her point of
Until she started view of the But then she has
using LSD which characters and a bad trip that
suddenly ruined sounds she doesn't makes her feel
her life in her hallucinations confused and
which aren't really frightened
there

6. R
Distributor Film Budget
Revolver Anuvahood $1,000,000
Entertainment (estimated)
Revolver Kidulthood £600,000
Entertainment (estimated)
Revolver Sket $1,000,000
Entertainment (estimated)
Revolver Shank £385,000
Entertainment (estimated)

7. Why we chose Revolver R
Entertainment
• They are able to work with flexible budgets
• They have operations in both London and Los Angeles, so a
variety of influence will be obtained
• Most films they distribute were filmed in London
• The films they distribute are mainly targeted at a young
audience
• The central characters in the films they distribute are young and
troubled
• The films they distribute are very similar to our opening
sequence which features drugs
For these reasons we believe that Revolver Entertainment will be
able to distribute our film effectively.

8. R
Distributor Film Budget
Universal Studios 4321 $4,600,000
(estimated)
Universal Studios Alpha Dog $30,000,000
(estimated)

9. R
Universal..
• Distribute movies similar to ours such as 4321 and
Alpha Dog
• Distribute some films centred around young
characters like our opening sequence.
• Are experienced in releasing drama films
• Is based in America, however they have filmed in
British locations and have had British actors
feature in the film

10. R
Warner Bros
Distributor Film Budget
Warner Bros Altered States $15, 000, 000
Warner A Home at the $6.5, 000, 000
Independent World
Pictures
Warner Bros Conspiracy Theory $80, 000, 000

11. R
Warner Bros..
• Have distributed a lot of drug related films
• Is a long established film distribution company
• Have distributed a variety of drama films

12. Kaya & Sanel
Titles S
Dazed and confused - 1993
During the trailer of dazed and confused we
got inspired by the bright colour and they
way they faded from bright dark blue to
bright fuchsia.
This inspired us to use distorted shape in
our font. This also inspired us to use bright
changing colours in our title because it
almost looks like hallucination. We also
thought it would be effective to use a bright
colour then a darker one to symbolise
Laura.

13. Kaya & Sanel
Credits S
Devil - 2010
We were inspired by the credits in Devil because of the way the credits come on
screen then fade away after. We thought it suited our opening sequence in the
sense that it’s calm, just like the beginning of ours and now too attention grabbing,
so that our character is still the main focus.

14. Kaya & Sanel
Titles/Credits S
We would like to use a font that shows the images in a distorted vision. Here are some of
our idea’s of what we would like to use in our title and credits.
Delirium Fantasy Delirium Fantasy
Showcard Gothic Snap ICT
We liked how this font stood out because it was bold
We really like the look of this font because of how
and the letters are quite distorted. Also because the
distorted the letters and how it almost look like
letters are bold the audience would focus on the title
graffiti which would be eye catching for our target
and it’s meaning.
audience, however we just feel this isn't the right font
However, we didn’t feel it completely fitted our film
because it doesn't give out any clues to what the title
as it was probably too firm as we feel we need
represents.
something more flexible.
Delirium Fantasy Chiller
Delirium Fantasy
Ravie
This was our favourite design and font of all that we looked at.
We liked this font because of the way the letters fade We loved the curls at the end on some of the letters and how
towards the bottom which represents our main flexible the letters are. They almost showing a sense of
character, however, we feel it looks too much like a ‘fantasy’ and looks quite confusing. Also we think the target
thiller title and we don’t want to give that kind of audience would be swayed to look at our film as the font isn't
sophisticated, but almost like graffiti in a subtle way. We
image on our film.
decided that this would be the perfect font for our titles and
credits as it ticks all the boxes.

15. Kaya & Sanel
Titles/Credits S
IDEAS FOR COLOUR OF FONT
This was an idea of colours for our titles and We liked the confusing design on this title
credits because we like the bright colours because it was confusing and we wanted our
and the way they fade from bright to dull. audience to feel uncomfortable when
However, we don’t think these colours fully watching this. However, it doesn't fit with
match and doesn't fit properly to what we’re what we’re doing and isn't the correct
showing. portrayal of our film.
We thought maybe we should explore using This was our favourite of all the colours and
a more serious colour as our film has a designs as we wanted a brighter colour to
serious message behind it. However, this is show the hallucinations (as our title will be
to predictable for a film like this and we shown while she is hallucinating). Also we
wanted to do something a bit different. Also believe that although this is a serious film,
it wouldn’t fit in where we will be showing we want our target audience to be attracted
the title as its dull. to the film which I believe the title and credit
does.

16. Kaya & Sanel
Titles/Credits S
IDEAS FOR WHAT WE WANT OUT TITE TO LOOK LIKE
(We don’t have iMovie so we don’t know if this sort of thing is available)
This is not our own image

17. Kaya & Sanel
Titles/Credits S
IDEAS FOR WHAT WE WANT OUT CREDITS TO LOOK LIKE
(We don’t have IMovie so we don’t know if its available)

18. Kaya & Sanel
Music/Sounds T
Non-Diegetic Sounds
The song played by piano in the last song
inspired us to use it for when we show the
flashbacks because we wanted the audience
to connect with Laura and really reflect and
think in depth about why they’re being shown
and what they are to represent
http://http://www.youtube.com/watch?v=-wW_0-TN-
V8&feature=related

19. Kaya & Sanel
Music/Sounds T
Diegetic Sounds
We wanted our character’s from Laura’s hallucination
to almost mock her, so we were inspired from dream
house to use laughter, in an almost creepy way but
still happy. However we wanted to show a scary one
http://www.youtube.com/watch?v=8KIn3yP8c5Q too, so we were inspired from the second clip (from
http://www.youtube.com/watch?v=nIeMYPfnST0 YouTube) to eventually start to make the laugh sound
demented and frighten her as she starts to change
into a ‘bad trip’

20. Kaya & Sanel
Music/Sounds T
Diegetic Sounds
We wanted the characters in the hallucination to
talk, but we didn’t want them to have their normal
voices, so we were inspired by the chipmunks to make
their voices high pitched as we thought this would be
creepy. Though, we would increase their movement
and also their speech so they would be talking a lot
faster but still as high pitched.
http://www.youtube.com/watch?v=kKJ7kDLd2o8
We were inspired to use a siren sound during Laura’s
hallucination from hot fuzz because, the siren was
used in the film because someone was doing
something wrong, therefore, we wanted to use it in
ours to show that Laura knows what she's doing is
wrong in the back of her mind
http://www.youtube.com/watch?v=0-lcqIuVaR8

21. Kaya & Sanel
Music/Sounds T
Diegetic Sounds
We were inspired by this story called ‘I’ll follow the
moon’ background music because it was very relaxing
and calm, which almost sounded twisted in a way. So
we wanted to make something very similar to be the
main sound play during her hallucination, as well as
sirens, children's laughter and characters dialogue
http://www.youtube.com/watch?v=QApwa7NtmXI&feature=pyv

22. Kaya & Sanel
Music/Sounds T
Sounds we would have potentially used…
http://www.shockwave-sound.com/sws_player.php?v=4804&l=
The music we downloaded wouldn’t upload to the presentation, so we
recorded the sound on webcam our selves.
This sound will be the music played during Laura’s hallucination.
http://www.shockwave-sound.com/sws_player.php?v=84196&l=
The music we downloaded wouldn’t upload to the presentation, so we recorded the
sound on webcam our selves.
This is a police siren what we would have used during the hallucination
http://www.shockwave-sound.com/sws_player.php?v=83604&l=
The music we downloaded wouldn’t upload to the presentation, so we
recorded the sound on webcam our selves.
This would have been played through the flashbacks to intensify them
and add emotion to what is being shown

23. BBFC And Rating
What is BBFC- The British Board of Film Classification.
What is BBFC used for- responsible for what was shown in cinemas and from early
on established the decisions of the BBFC.
Are film would be rated an 18 because it based on drugs sexual context .

24. Rating System
• Universal – It is impossible to predict what might upset any particular child. But a ‘U’ film should be suitable for audiences aged four
years and over.
• Discrimination
No discriminatory language or behaviour unless clearly disapproved of.
• Drugs
No situations to illegal drugs or drug abuse unless they are infrequent and mild, or there is a clear educational purpose or anti-drug
message suitable for young children.
• Horror
Scary sequences should be mild, short-term and unlikely to cause undue anxiety to young children. The outcome should be reassuring.
• Imitable behaviour
No possibly dangerous behaviour which young children are likely to copy. No importance on realistic or easily accessible weapons.
• Language
Few use only of very mild bad language.
• Nudity
natural nudity, with no sexual context.
• Sex
Mild sexual behaviour (for example, kissing) .
• Theme
While difficult themes may be present, their treatment must be sensitive and correct for young children.
• Violence
Mild violence only. Rare mild threat or danger only.

25. • Parental Guidance
Alone children of any age may watch a ‘PG’ film should not disturb a child aged around eight or older.
• Discrimination
Unfair language or behaviour is unlikely to be acceptable unless clearly disliked of or in an educational or past context.
• Drugs
Situations to illegal drugs or drug waste must be safe or carry a suitable anti-drug message.
• Horror
Scary sequences should not be prolonged or intense. Fantasy settings may be a modifying factor.
• Imitable behaviour
No detail of possibly dangerous behaviour which young children are likely to copy.
• Language
Mild bad language only.
• Nudity
Natural nudity, with no sexual context.
• Sex
Mild sex references and hint only.
• Theme
Where more serious matters are bring out (for example, local violence) nothing in their treatment should overlook unacceptable
behaviour.
• Violence
Enough violence, without detail, may be allowed.

26. • Suitable for 12 years and over
• Exactly the same principles are used to classify works at ‘12A’ and ‘12’.
• The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless go along by an adult, and films
classified ‘12A’ are not recommended for a child below 12.
• Discrimination
language or behaviour must not be recognized by the work as a whole. Aggressive unfair language or behaviour is unlikely to be acceptable unless clearly
condemned.
• Drugs
Any abuse of drugs must be rare.
• Horror
Enough physical and mental risk may be permitted, provided disturbing sequences are not frequent or constant.
• Imitable behaviour
Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail.
• Language
language is allowed. The use of strong language (for example, ‘fuck’) must be rare.
• Nudity
Nudity is allowed, but in a sexual context must be brief and subtle.
• Sex
Sexual activity may be briefly shown. Sex references should not go beyond what is suitable for young teenagers.
• Theme
Mature themes are acceptable, but their conduct must be suitable for young teenagers.
• Violence
Sensible violence is allowed but should not dwell on detail.

27. • No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’
rated video work.
• Discrimination
• The work as a whole must not endorse unfair language or behaviour.
• Drugs
• Drug taking may be shown but the film as a whole must not promote or encourage drug abuse.
• Horror
• Strong threat and danger are permitted unless cruel or sexualised.
• Imitable behaviour
• Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which
could be copied.
• Language
• There may be frequent use of strong language (for example, ‘f****’).
• Nudity
Nudity may be allowed in a sexual context but without strong detail.

28. • Suitable only for adults
• No-one younger than 18 may see an ‘18’ film in a cinema
• Only adults are admitted. Nobody younger than 18 can rent or buy an 18-rated VHS, DVD, Blu-ray
Disc, UMD or game, or watch a film in the cinema with this rating. Films under this category do not have
limitation on the bad language that is used. Scenes of strong real sex may be permitted if right by the
context.