Storyboard – Flashback Sequence

By Ella Ponting

*NOTE: The images used are taken from internet to visually re-create how our film may appear on-screen, an updated storyboard will be created post-production with updated images we used in our film.

HAYLE:

(voiceover) That night I couldn't sleep, my brain was whirring and

I found it difficult to concentrate on anything.

A visual image of Hayle reading a book fades into the scene. She is

flicking through the pages of 'Tess of the D'Urbervilles'.

1. An Over-The-Shoulder (Mid-Shot) shot of the protagonist reading ‘Tess of the D’Urbervilles’ will fade onto screen once the flashback sequence begins. The camera will then switch to a low-angle shot of the protagonist peering over her book, thus placing the protagonist directly in the action and indicating to the audience her involvement in the following scene. The scene will then progress to a Close Up of the protagonist flipping through the pages at top speed, providing a juxtaposition to the seemingly relaxing, mindless task of reading. We will then jump-cut to a Long Shot of the character slamming the book down on to her night stand in frustration at her failed attempt to calm herself down.

HAYLE:

(voiceover) I tried to read, but I could no longer absorb myself in

the stories I once loved. 

HAYLE:

(voiceover) Anyway, I went downstairs and took my medication,

you know, the usual.

Hayle walks downstairs. She fills up half a class of water and pops several pills into her mouth.

2. Halfway through the voiceover, the visual action progresses to a Long Shot from a low angle of the protagonist walking downstairs. This is then followed by a Close-Up of the protagonist’s hand turning the doorknob. An empty glass is positioned to the left of the sink and a pillbox to the right, a Mid-Shot at a side view of the protagonist is used to encapsulate her action in filling up the glass with water. This progresses into a Close-Up of the pill falling into Hayle’s outstretched palm followed by a quick jump-cut to an Extreme Close-Up of the pill entering the protagonist’s mouth after she’s taken a sip of water.

HAYLE:

(voiceover) I tried to watch TV, something mindless to lose

myself in - but it didn't work. 

Hayle switches on the TV and channel flicks. She lights the fire and makes her way towards

the back windows.

HAYLE:

(voiceover) As usual, my parents were at work leaving me

by myself…again.

3. We will use an OTS long shot at eye-level as well as including the tracking camera technique to mimic the character’s movement into the next room. We then will use a Close-Up of our protagonist holding the TV remote, channel flicking. After this we have decided to have a series of different jump-cuts to mirror the character’s anxiety. The character will shift positions on the sofa, to sitting upright leaning in with head in her hands, to her lying face down horizontally across the sofa, to sitting upright and crossed legged. This was a technique I learned and incorporated in my AS Media project and is something that effectively portrayed the character’s discomfort in a unique way. We’ve decided to then use a (OTS) Extreme Close-Up of the character lighting a flame before switching to an Eye-Level perspective of the character with the match in hand. All of a sudden the protagonist averts her gaze towards the door – as if in a trance she makes her way towards the door. A Long-Shot is used alongside the tracking technique to mirror this movement.

HAYLE:(voiceover)

I thought I saw something outside but I tried to convince myself

otherwise. Tension building music enters.

Hayle's eyes narrow and a panic-stricken expression crosses her face. She rushes to grab the keys and opens the door to the looming darkness of the light. Gently rustling leaves, breeze of the wind can be heard outside.

She closes the door, looking visibly more relaxed and heads back upstairs to her bathroom

4. A Close-Up is used of the key in the door being turned by our protagonist. The doors swing open and the camera pans round the dark woody landscape before switching to an eye-level Mid-Shot of the protagonist scanning her surroundings. She slams the door shut, looking visibly more relaxed and heads upstairs. A close-up of the character’s feet are used to mimic the motion of the protagonist walking. We have decided to do this as we want to include a variety of different shots from unique angles and perspectives, we also don’t want too much of the footage to be taken up by repetitive shots of the character transitioning through different rooms. A side perspective of the character heading upstairs is used briefly before following onto another Close-Up of the protagonist’s feet on the steps.

HAYLE:

(voiceover) As I got ready to go to sleep, I couldn't shake the feeling

that something wasn't right. There was something unusual about the darkness,

as if time itself were held in a standstill where everything was still

yet everything was changing.

Hayle brushes her teeth and rinses her hands and face. She walks back into her

bedroom and climbs into bed.

(tap dripping)

5. As this piece of dialogue is read out, visually our protagonist is carrying out her night-time routine – she washes her face, brushes her teeth and climbs into bed. This extract of our film starts with a Close-Up of a tap, in which a hand appears onto screen to turn it on. We then see a Mid-Shot of the protagonist splashing water onto her face and drying it with a towel. The camera then switches to a side view perspective of the protagonist turning off the tap. Another Close-Up is once again incorporated into this scene in form of a match-on-action technique, followed by a Mid-Shot of the protagonist brushing her teeth. As the protagonist turns away the camera switches to a Close-Up once more to capture the slow, deliberate drips of the tap. Lastly, a LS at a slightly low angle is used to show the protagonist’s movement to her bed. A Mid-Shot at a bird’s eye view is then used to show our protagonist finally tucked into bed.

HAYLE:

(VOICEOVER) The last thing I heard before I fell asleep was the sound of alarm clock beside my bed.

(tick-tock of the clock)

6. A Close-Up of Hayle’s alarm clock is used, for this shot we may use a sound effect of a clock ticking to match the on-screen visual. This shot will last for a few seconds, capturing the clock changing it’s numbers to reflect time going by and illustrate to the audience the time-span in which the protagonist is experiencing sleep difficulties.

7. A bird’s eye view Mid Shot of Hayle will be used to show eyes drooping shut and her position on the bed, used to show her slowly falling into sleep. For a few moments everything is still and silent, until we introduce the noise of a creaking door. At hearing this noise, Hayle’s eyes suddenly open, appearing wide and fearful. To mimic this motion we have decided to incorporate an Extreme Close-Up of our protagonist’s eyes to heighten the intensity of the scene and to emphasise the protagonist’s shock at her rude awakening. We then have decided to include a series of 3 short jump cuts of the door from a distance, followed by a shot of the door from a closer proximity and then finally a shot that includes the door being the focal point of the frame finally showing the dark hooded figure appearing in the doorway, half concealed in the shadows. We will then include a Long Shot of the protagonist from the perspective of the demon, revealing her to being completely motionless, paralysed by fear.

HAYLE:And that's when it started.

(slow creak of the door)

All of a sudden Hayle regains consciousness, her eyes wide and fearful. A shadow gradually appears in the doorway. For a few moments the figure remains almost completely still. Hayle stays completely still, unable to move. 

Very slowly and deliberately the figure moves slowly towards Hayle's bed.

(sharp intake of breath)

Another figure emerges from the closet on the opposite side of the room. The figure is smaller than the first one and bloodied. The first figure continues to move slowly until it reaches Hayle's bed where it stoops over a turns to look at her square in the face. 

8. A Close-Up of the protagonist’s face is used to reveal the character’s frightened facial expression, this is done to emphasise the sense of paranoia and instability as the protagonist’s eyes dart to the figure at the edge of the door. A tracking technique is used to illustrate the first figure’s transition from the door to Hayle’s bed, this will be crafted in the form of an Over-The-Shoulder Shot (POV Shot) so that we view the protagonist from a predatory force, making Hayle appear weak and vulnerable. The camera quickly spins round to focus back on the door where a smaller hooded figure is emerging from. A series of jump cuts are used in succession to show different parts of the demon – first a Close-Up of the smaller figure’s red blood-shot eyes, followed by a Close-Up of their bloodied hands then finally a Long-Shot of their whole body. We’ve done this to emphasise the destructive nature of the figure and to heighten the intensity of the scene. By this point the taller figure is stooped over Hayle’s bed frame, their arms outstretched into a menacing stance we’ve used a low angle to enhance the taller figure’s power and dominance over our protagonist.

The second figure also moves slowly towards Hayle and grasps her hand - it's hand is bloodied

and decaying.

Hayle screws her eyes shut.

HAYLE:(muttering) it's just a dream...just a dream...

9. We also have decided to incorporate a tracking shot into this sequence to mimic the motions of the second smaller figure. However, unlike our use of the tracking shot for the the first figure, we decided to use it from Hayle’s point of view. We have decided to use a series of three jump cuts consecutively in this order: a Long-Shot, a Mid-Shot followed by a Close-Up all of the second figure. We have decided to film this in a way that as the light dims the character appears to mover closer to the protagonist creating a chilling and unsettling effect. We will then include a Close-Up at eye level of the protagonist’s hand which is slightly outstretched and dangles over the bed, the second (or possibly third?) figure’s hand will gradually enter the frame and shown to stroke her hand menacingly. The blood from the figure’s hand remains still and lifeless, her hand stained red. The camera cuts to a bird’s eye view Close-Up of our protagonist, her eyes screwed shut muttering ‘it’s just a dream…just a dream’ underneath her breath.