Little Blue Opening -- Evaluation, Question Five

How did you attract/address your audience?

With our opening sequence we followed typical conventions of the fantasy genre closely to have certainty in creating an opening suited to our target audience. It was important to show a clear indication to the genre type and a hint of the story to come in a way that didn’t present the audience with too much information, allowing them to slowly ease into the story, a typical technique of fantasy openings.

To begin we wanted to start with a interesting shot, to capture attention, after watching Edward Scissor hands I noticed the first shot begins focused on a shadow on the ceiling then slowly panning downward to the door. Although to be it was an unusual shot it had a great effect of attracted my attention and created a soft and magical atmosphere almost immediately. I knew this was something I wanted to use and kept it in both our storyboards, without have seeing the shot example myself I wouldn’t have imagined it being so effective and with our location perfectly fitting our original ideas it worked well in presenting the mystical feel to the opening. The Light itself, which begins as the main focus creates a warm glow and a projects a flower pattern across the ceiling, a beautiful effect that suited well to the world and style of our main character. Although we planned to use a ceiling light in the shot beforehand, after seeing the location we decided it should defiantly be the focus of the opening shot. From the mid shot of the light we pan downward to the slowly opening door. Revealing the little girls room.

At this point I feel using the modern setting has a better effect on the audience, from our research we found that films which begin in a familiar setting settle the audience into the film and allow them to focus more attention on the magical aspect. In addition the doors opening and effect of the light still suggest the fantasy theme strongly along with the music, a combination we also used from Edward scissor hands, only challenging the idea in the tone of our shots, the lighting and shot are a lot warming and inviting than in Edward scissor hands shots, which was our main message through the sequence of inviting the audience into the story.

Our sequence moves on to show an establishing shot of the room itself, using tracking to create the effect of walking through the door. To a series of close and pans around the room. This is mainly to introduce the character and story to the audience, similar to the concept in Labyrinth. The slow panning and movements are used to maintain the soft and innocent atmosphere keeping in time with our music.

All the while the credits appear using dissolves over the moving image. We used this compared to full screen credits so as not to interrupt the flow of the film and to give main focus to the camera shots themselves the whole time, and not attract too much attention away from the picture. We included all the credits until the last panning close up of the table and fairy book as we shots after that have a change in tone in both music and mise en scene, also with Little Blues appearance we didn’t want the titles to capture any attention compared to the picture on screen. Using this will aid to attract our audience because it keeps the continuous flow and atmosphere throughout the sequence, a convention of the fantasy genre which can be easily recognised, we also found this a successful technique in attracted attention in examples such as Edward Scissor hands.

Throughout the sequence the mise en scene depicts the fairy tale theme and the aspects of the character. We used various moving objects such as the clock, the carousel and the snow globes to almost bring the room the life. Keeping the magical atmosphere and also to interest the audience further. The lighting and pace remains consistent up to the end of the credits, with slow cross fade transitions following suit. We wanted to keep a constant pace and feel up to the close up of the fairy tale book to make the audience as comfortable as possible, presenting Little Blues world as one of constant happiness and of a typical routine life for a young girl. By doing this we aim to allow the audience to recognise this lifestyle and relate it to similarities within there lifestyle, interesting them further.

However we chose to change tone with the close up of the teddy bear, the lighting is darker and the shot differs to the line of pans used so far, with the change in depth of field it changes the mood and the audience should feel the underline tension as the shot almost reveals something hidden further behind it. This shot is also longer and remains still compared to previous shots, emphasising the change of mood and its importance over the shots so far. This should increase the audience’s interest and create anticipation to see the reason behind such a change.

The music also is a main influence in creating the change of mood. We timed it for the music change to specifically fit the shots, one of the reasons we used this piece was the sadder note the music drops to toward the end of the music, fitting well with how we planned to drop the happy tone toward the shots of Little Blue and the picture frame. This was our technique to forebode the relationship of the family and its issues between the sisters.

In addition returning to the mise en scene the entire room was designed to suit our character and to introduce her to the audience thought this, as the main heroine it is Little Blue who will engage the audiences focus the most and it’s her morals, ideas and kindness that we want our target audience to learn from and understand. The dolls house represents the family home and family theme while adding to the innocent, girlie nature of the room.

The books along the shelf consist of all fairy tales hinting the genre and her love of it, we placed them disorderly to suggest her constant use of them.

The snow globes and moving objects once again are to continue the magical atmosphere, things moving and twirling by themselves as if by magic.

The pens and drawing are not only to show her age but to reinforce our theme of colour, something that is often makes the story memorable like Little Red Riding Hood.

The mirror and jewellery boxes reflect a typical girl vanity, suggesting also a slight maturity to her which could be supported by her actions toward the end of our story as she refuses to use the sweets to gain her sisters love.

The Cinderella book is a key prop; we used a specific page to again hint at the themes and plot to come, with the image of the small girl relating perfectly to Little Blue and the appearance of the witch later on.

The fairy lights added to the warm gold to the scene and became a key focus before our cross fade to the main title.

All this is adapted from our research which we found gripped us as the audience and those of our target age, with its soft, tender and easy feel with hints of underline drama is well suited to capture and maintain our audiences interest, also the visuals of the room itself should be a feast for the eyes and keep the audience constantly busy. This not only attracts the audiences attention but allows them to feel the atmosphere of the scene, engaging them and creating the effect of being wrapped up in the story.

The use of the photo frame was of great importance as it was not only the clearest hint to the story especially when accompanied with the music but it is a key point in the audience relating to the characters. Our family is the embodiment of a average modern family, Its common in today’s society to have step fathers, sisters, mothers etc. and also for interracial families and relationships and its becoming easier to represents these in media as time goes on.

We also felt it was important to show this representation as not only will it engage the audience further because of the familiarity to the family but also to show this example is a child suited example of facing these issues and create awareness that all family life will encounter its own issues.

Our story also suggests much about the typical antagonist, that she doesn’t have to be the evil stepsister, she has a choice in her family relationship and she was never evil, but just the same as Little Blue.

Over this project I have viewed and researched many films of the fantasy genre with I used and adapted to our media product, even recently I myself have watched Harry potter and the half blood prince, a famous example of a fantasy series, In which I noticed similar conventions to Little Blue, such as in Dumbledore’s office, it embodies a spectacular magical mise en scene of the moving portraits, every object and item spinning and whizzing around the room by itself. Not different from our use of snow globes and the carousel. This is a film I would expect all ages to see and relate to the fantasy genre.

Knowing we used and adapted such effective examples while also including so much of our own ideas and conventions I feel we would succeed in addressing and attracting our audience.

Little Blue Opening -- Evaluation, Question Four

Who would be the audience for your media product?



For Little Blue our primary audience and main target would consist of

• Ages from 8-12.

• Both genders but leaning toward young girls in terms of little blues character. It includes strong themes of sisterly affection and the world of the film itself using conventions of a stereotypical ‘girly world’.

• Including a range of ethnicities representative of today’s Britain, also encouraging tolerance and equality in our younger viewers. Little Blue herself is mixed race and her family consisting of two ethnicities.

• Understanding and relating to the modern setting of the fairy tale, creating realistic environment in which the moral can create a better impact.


We considered a range of age groups for our media product, our initial thought was to aim toward children, a typical audience for fantasy films, however can be a common case that a variety of ages can easily enjoy a fantasy film with similar themes to Little Blue, examples such as Spirited away and the Wizard of Oz, which are highly recognised as fantasy films everyone can enjoy. However after reviewing our aims of Little Blue we decided that a target audience of 8 – 12 year olds was the best choice for our film. This was mostly because of Little Blue’s character, being the main protagonist she would be the character our audience should most connect with, for this the audience should be of a similar age. In addition the moral behind the story is for an audience with a similar age of Little Blue to learn from. Also its themes resemble those from classic fairy tales, something a younger audience is more likely to be familiar with.

From this we were able to decide our secondary audience

•Family

•With family already being a strong theme throughout Little Blue we considered the appeal it could have to a family audience. As with many of the fantasy films we studied we found them to be good examples of family films. Parents are already likely to base family cinema visits or films at home on media suited for there children. With this in mind it is reasonable to suggest family as our secondary audience as if our primary audience is attracted to our film our secondary audience should enjoy it as well. We also felt that Little Blue’s morden setting and drama aspects will have an appeal to older members of the family, making it enjoyable for all.

•Films such as Edward Scissor hands, Harry Potter and the Lord of the Rings are excellent examples of this being films all ages can understand and enjoy, making them 3 of the most popular fantasy films so far.


Some other films our target audience may have recently watched include:

• Where the Wild Things are
• Christmas Carol
• The Princess and the frog (upcoming)
• Planet 51
• Aliens vs. Monsters
• Ice Age 3
• Nativity
• Harry Potter series
• Alice in Wonderland (upcoming)
• The Chronicles of Narnia series
• The Lord of the Rings trilogy
• Pirates of the Caribbean series
• Star Wars series
• The Golden Compass
• Inkheart
• Coraline
• Princess Mononoke
• Howl's Moving Castle
• Spirited Away
• Laputa Castle in the Sky
• Big Fish
• Corpse Bride
• The Nightmare Before Christmas
• Avatar
• The Last Airbender (upcoming)
• Ratatouille

Little Blue Opening -- Evaluation, Question Three

What kind of media institution might distribute your media product and why?

The only process we have yet to experience in film making is post-production distribution. A particularly interesting part of the film industry to me personally. The distribution process is the release and advertising campaign of a film, were the advertising team will distribute posters, adverts, trailers, and other advertising techniques to promote the upcoming film. It’s the distributors task to keep the film in he public eye and organised its showing in theatres, festivals or online. Realistically because of our film is low key production and still at this stage amateur it’s likely not to be distributed at any point. However its not complete impossible, bringing me to my first suggestion of a possible media institution that could distribute our film.

A concept of distribution I am already familiar with is Independent film distributor’s Dogwoof, a organisation that supports independent film making. From choosing the release dates, booking cinema’s, planning, organizing and handling promotional campaigns and PR, DVD distribution and much more. (seehttp://www.dogwoof.com/indie/our-services/ ).

Dogwoof however as a ‘social enterprise’ tends to focus on the distribution of ‘specializing in social issue films: documentaries; independent films and world cinema.’ With an objective of ‘The aim of this approach is to trigger change, and get people to take action.’ Therefore if I was to present my film to Dogwoof for distribution there is the question of if my film genre is suited to there aims as film distributors. However I feel confident of that the possibility still remains after study various films previously distributed my Dogwoof such as Boogie, Cherry blossoms and Four eyed monsters, although even these films suggest strong elements of social issues this independent films are not filmed in a documentary style so Dogwoof’s interest in drama based independent films.

Another distributor that we could potentially use for our film is IFC entertainment, http://www.ifcfilms.com/about-ifc-films as a leading distributor of independent and foreign film it has distributed many recognized independent films such as Night and Day, How to be and Adulthood. It also uses a range of outlets in which to distribute the film, offering it a wide coverage ‘IFC in Theaters, makes independent films available to a national audience by releasing them simultaneously in theaters as well as on cables On Demand platform.’ Also in addition to this, ‘Select IFC Films are also available through Itunes and Amazon Unbox’. Using Itunes as a means of distribution would to me personally be a great goal to achieve, being now one of the most popular and used seller of online films it would offer our film to a vast audience of all ages. To consider our film to reach this stage however is highly ambitious. It also offers audiences to view independent films ‘On demand’ such as Ricky, a film by François Ozon with conventions and themes similar to Little Blue, an example of how our film made be similarly promoted and distributed by IFC entertainment. http://www.ifcfilms.com/films/ricky

This also encouraged me to consider other distribution outlets such as the internet.

Facebook, a social media site with a ever growing number of registered members estimated around 42 million. It remains the 18^th most visited website around the world and is the 7^th most popular visited website in the US. With films using this media as a method of promotional campaign we as the filmmakers could judge the interest of our demographic and raise awareness of our film to them simultaneously. http://www.facebook.com/pages/?browse&ps=88 See the vast selection of films advertised simply through the scheme of ‘Becoming a fan’ which allows members to join the films page, use links to relevant websites promoting the film, follow information of the film during its release and distribution and also to advertise any merchandise of further release afterward. This will also encourage our film to spread thought-out our intended audience through interest and topic of conversation.

Film festivals are one of THE forms of screening independent films. As a possibility for our film it would offer Little Blue a wide audience and recognition in the public and film industry. A possibility of a film festival Little Blue may be shown at is Raindance. ‘Raindance has organized screenings, seminar and workshops in USA, Canada, Japan, Denmark, Poland, Scotland, Ireland, Germany and France.’ Originally working as a support and advice organization for independent filmmakers the Raindance festival was founded in 1993. It encourages and asks for the entries of all genres and types. Working with Raindance not only would we gain the valuable knowledge and advice we need through its training programs and various guides but would also consider screening our film in a upcoming festival creating high awareness of Little Blue and possibly achieving award winning status.

http://www.raindance.co.uk/site/independent-film-festival-2009

Little Blue Opening -- Evaluation, Question Two

How does your opening sequence represent particular social groups?


Our opening sequence focuses on the representation of 3 main social groups using Mise en scene, the soundtrack and the characters themselves. Our main character Little Blue was created to be a typical protagonist for the fantasy genre, main characters in the genre are commonly younger hero’s, children when faced with the magical world become the hero’s through their actions. This is also a effective idea when trying to reach out to and attract younger audiences. A child character allows them to relate better to the character then they would to an adult. Such as Chihiro from Miyazaki’s Spirited Away, a young girl who is thrust unknowingly into the spirit world and has to do all she can to save her parents.

Or Lucy from The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, who stumbles through a wardrobe into the world of Narnia, and joins the fight to save it from the White Witch.
Two characters who were an inspiration to the design and creation of Little Blue in our film.




Little Blue, otherwise know as Lucy Mill’s was born to love, and feels nothing is more important than the happiness of her loved ones.

She’s mixed race and British.

She was born 15th of September 1999, making her the young age of 10.

She absolutely loves her daily life at school, her classmates, teachers and joy of learning everyday.

Her only fear is being lost or alone.

One of the things she enjoys is her vast collection of stories, she loves nothing more than to become lost in her own fantasy world, a trait we found common in films were realism and fantasy collide, with the heroine dreaming for a fairy tale rather than there own. We also used this aspect of her to portray her innocent and imaginative nature to the audience, its easy for her to lose herself in a make believe world when her reality is much less appealing to her. The use of props in throughout the opening sequence is purely to emphasize this character and themes, her toys, colors and books are all to present her character and how these many objects are her world.

This clearly shows her as a representation of a stereotypical social group of a young girl, fairy tale loving, for instance the stacks of books shown in her room and Cinderella placed open on the desk suggesting her constant reading of these books and her taste for fantasy over other genres. This behavior however can also help to suggest her want for escapism, she longs for a strong relationship with her sister to complete her family. Family issues is something that can likely relate to a lot of children today, because of this we attempt to present a good moral for our audience, as many fairy tales and folklore do and encourage siblings of any kind to care for each other. Just as Chihiro and Lucy did whatever they could to protect the ones they love, Little Blue does all she can to unite herself and her sister.

The Stepsister is also a second example of a representation, Her social group being jealous sibling and teenager, not only keeping to our moral objective but to the classic conventions of a fairy tale story, however we did challenge this theme with the sisters redemption, and rather than her as the spoilt child she is the neglected one therefore fuelling the reasons for her actions. This in addition can be compared to Edwards’s character from The Chronicles of Narnia: The Lion, the Witch and the Wardrobe who initially abandons his siblings to help the White witch, however he see’s the mistake his made and returns to help them.

The parents as characters are have minor roles throughout our film. However there representations are important for the audience to understand and relate to the family as a whole. The mother, from her apron and causal costume can be easily depicted as the traditional housewife, a role still common in today’s families. This also helps to emphasize on her loving and mummy cuddling personality when seen with Little Blue. Her treatment of Little Blue compared to her Stepsister is because if Little Blue being the youngest. The Father also is representative of a common role, the bread winner, working father in the city.
Because of the hints of the neglection the parents show we didn’t want to portray them as the villains, which is why the stepsister only blames Little Blue for this. We felt for our film’s morals and to relate to the audience better we shown the parents in positive lights.
With Little Blue they are seen as perfect and devoted parents, such as is represented in the photo frame with her positions next to her. Although this gives Little Blue main attention the parents still on occasions throughout the story attempt to guide the stepsister and do not show any signs of resentment to her. Using the photo we wanted to show two perspectives of the Stepsisters distance from the family, the parents objective in giving Little Blue more attention is to encourage independence in the stepsister as she grows older, something parents watching the film are likely to understand and relate to.


Casting was a relatively easy process, we knew we needed a younger girl to play Little Blue, who would be the only cast member appearing in the opening other than the cast in the photo frame. However I already had in mind who to cast, I knew we would need a small, shorter girl and we could use the means necessary to make them look the appropriate age. After asking our cast member Jessica Porter if she would be willing to appear in our film she had no issue with it and excepted the offer happily, I’m glad we were able to recruit a particular individual rather than hold auditions as the part is very short and we felt it would be unnecessary to hold auditions if we could recruit for ourselves. The parents in the photo were played by her real parents which prevented any issues casting the parents, and the Stepsister in the photo was played by someone we again recruited ourselves, she was a good choice for the part as she looks the appropriate age of the character and her ethnicity is a realistic fit with the rest of the family.

The position of frame in the photo was an important task, we needed to make sure the parents leaned toward Little Blue and she attracted center attention. Notice also how Little Blue herself isn’t in the exact frame centre, as if she doesn’t wish to demand the most attention, but the effect of her standing forward from them, and her parents either side of her still creates the same result, leaving the Stepsister isolated to the side. This was used to give the audience a clear suggestion of the relationship of the family, and of the two main characters. All costume and body language was arranged before the picture was taken, Little Blue was dressed in clothing typical of a 10 year old, with her signature blue colors. The mother and father are dressed in typical day to day attire, presenting the average family with the mother wearing an apron for housework and the father in smart clothing for work. A stereotypical family image. The Stepsister was placed in normal clothing for her age also. In addition as Little Blue walks into the frame during the sequence her signature blue coat is worn to once again emphasize the use of blue linked to her character.

Little Blue Opening -- Evaluation, Question One

In what ways does your media product USE, DEVELOP or CHALLENGE forms and conventions of real media products?

Our film ‘Little Blue’ is based on a fantasy and drama genre. However to achieve the end product of our opening sequence we used, developed and in some cases challenged the forms and conventions of the media we referred to. Our original aim was a fantasy genre, however with the modern setting of our story, and the theme on the relationships between characters we felt it added a drama element to the genre. In the opening sequence itself we used many conventions we’d gather from our research to represent our main themes and genre. The themes of innocence, family and love are portrayed through the props in the room. From our observations of other films we proceeded in using the aim of,


• Introducing the world of the main character.

• Suggestion of the narrative.

• Suggesting plot points yet to come in the story.

• Introducing main characters.

• Including titles.

• Incorporating music to create the appropriate atmosphere.




With these aims we have created an opening using the main conventions of a fantasy genre opening.
Such as our camera shots through out the sequence, the view of Little Blues room is an instant introduction to the world our character. The slow pans were an effective technique we found in both Edward Scissor hands and Labyrinth opening. It gave a slow and eased introduction to the film while allowing the audience to focus on the settings and props in the frame. As a group we knew immediately this was the effect we wanted to recreate, we felt the soft atmosphere was just what we needed for our opening sequence. After watching our film you’ll recognize the conventions we used from Edward scissorhands, for example the opening pan from the ceiling to the opening door, the tracking trough the door, the dissolves and close up shots were all techniques we used in our film. Because of the look and effect that Edward Scissor hands opening had on us as the audience it had a large influence on us when storyboarding. Also after watching the film labyrinth the part in the first scene with the panning close ups of the music carousel, fairy tale books and toys was a concept we would later use in the finished film.

Our development of these conventions was to use them to hint at the other themes to our story such as unconditional love, jealousy, and neglect and family relationships. With this in mind we develop the use of props in labyrinth to suggest both themes and forebode later plot points, for instance the book of Cinderella lying open on the desk, this image not only presents the audience to a link from which our story is based on but the image of the little girl all alone, and then with the fairy god mother hints at event later in the story, an example of the film fairy tale style. In addition the photo frame with the image of the family is a key example of our attempt to show the audience the main themes, we see the mother and father, standing with Little Blue and her Stepsister apart from the group, we found this an easy and straightforward clue to the Stepsisters feeling of jealousy and neglect, without having to use any dialogue. Showing this clear hint at the characters relationship was important for our audience of children, to understand the main themes straight away. This use of mise en scene was a key convention to portraying our themes, genre and world of character to the audience.

Similarly we felt suggesting the magical theme was portrayed well throughout the opening, The opening of the door, such as in Edward scissor hands and numerous other films we’ve studied is seen a typical convention of a fantasy film, with it suggesting a inviting and story telling narrative, then allowing us to instantly relate it to the genre. The close up of various books, toys and clothes creating the image of a stereotypical girls room while the fairy tale images and titles continues the magical feel as it does in Labyrinth. A previously unplanned shot also carried on the magical atmosphere to the end, where the fairy lights blur together and fade into the main title, it was a beautiful and enchanting effect and enhances the magical atmosphere.

The music we used throughout the sequence was also a developed convention from Edward Scissor hands. The piece ‘sad christmas’ was perfectly suited for our opening, the sound gives a soft, floating and tender feel to the scene, the chimes and chorus Is a backing sound common in fantasy films. However the music changes as the bed and photo frame come into view, changing the atmosphere and the darker sounds indicating of the sadness and jealously to come in the story. In this sense we challenge the normal convention of the genre, as from the films I studied there weren’t any that include such a change in music, affecting the scene atmospherically.

Our Characters were all developed form our original story ideas, and the classic fairy tales we used to create them. Our character Little Blue is strongly based on the characters of Cinderella and Little Red Riding Hood.
Cinderella, a classic character, well known for her loving nature is helped by her fairy godmother to make her wishes come true, a story idea we used a main plotline in our story, to us it is an example of a true fairy tale and with a moral children can easily understand. We use the theme of Cinderella’s relationship with her sisters as a focus of the story, the evil stepsister beginning the antagonist who treats her sister similarly to how the stepsisters in Cinderella would. The way in which we challenged this was how the Stepsister is the neglected character rather than Little Blue and towards the end of the story we see her redemption after realizing the error of her ways.

We used and develop Little Blue’s character also from Little Red Riding Hood, apparent in her name Little Blue has similar traits to Little Red Riding Hood, the character beginning a young girl, and the association to colour is a strong image for children to understand and relate to, just as Little Red Riding Hood is easy to remember, so is Little Blue. We represent this also through the blue coat which she wears, similar to the red cape and hood Little Red Riding Hood would wear.

This is mostly to portray her character as consistent and memorable but also links to the sadness she feels at points though the story, notice how in the picture with her family her costume consists of light blue’s and whites, however her coat is of a much darker shade, suggesting she is sadder now than compared to when the picture was taken.


I remembered this concept from the film A Cinderella Story were the main characters costume begins in duller, darker shades, however through the film and as she discovered herself and she gets her happily ever after her costume switches to lighter colours. This was a convention I knew I wanted to use in my sequence to show indications of Little Blue’s character and reflect her emotions in all aspects, showing her progression through her journey.






(notice the difference between the beginning costume, and the last).

Title Research

Titles and importance -

Two different example of titles, a classic Disney opening title - presenting a strong fairy tale theme with the story book.



The font and patterned backgrounds are key it presenting the theme and set a code for the art and animation style of the theme. You can often find that Disney's animated productions will reflect the art style of the film, which also often differs in each production. For example compare Sleeping Beauty to The Incredibles.




This example from spiderman 2 is an interesting compisision of artwork based from the previous film in the graphic novel style,and a mordern take of a Saul Bass influence.A common feature of a Sual Bass inspired opening is that key themes or storypoints are shown to the audience in a artistic style suiting to the film genre and story.This kind of title sequence has become recognised as a Saul Bass influence because of his creations and own work in the film industry.

Saul Bass throughout his time created a new style and design of title sequence and graphic art. He used a vairty or artistic designs to present different film titles and posters.His work is also prodominate in logos all around us e.g. The girl scouts logo.His style was so prioneering to the world of film that his influence still remains strongly recognised and used in many films since his first works. Some of his first hand work includes Bonjour Tristesse, Exodus, West side story, Psycho and Goodfella's.

Some other examples of Saul Bass influenced work can be seen in both older and more recent cinema for opening and ending credits, in fact it can be seen in a large majority of today's films.







See how all 3 give a outline or hints to themes of the story to come, without giving away the plot, in contrast to spiderman 2 which reshowed events from the last film in the series.

Refering to the titles themsleves they are either boldly shown to appear or transition into the frame using the artist style of the opening. This is important to consider when arranging our titles into our opening sequence.
With our film having a fantasy genre in a modern setting we plan to use subtle appearing titles. Because of our opening sequence simply easing the audience into our world of film, drawing them slowly into the girls room and panning through we decided that strong bold fonts and titles would only disrupt and contridict the mood and atmoshpere we hope to create.

From this we looked further into other examples and back at previous research. From this we have decided to use a method of letting our titles appear on objects around the room, in a soft fairy tale style font. We gather this idea from looking at two examples which we felt would truely suit our sequence.From veiwing them you can hopefully gain an understanding of our overall look.

Shooting Schedule

Shooting schedule

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