Treatment for ‘Tamam Shud’    07.04.16Brush Productions - Jack, SharonEdited (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

Films We Were Influence ByThe 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’

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.  

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.  ( °͡ ʖ͜ °͡)

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

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.

SynopsisSequence 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.