Key Frame 2
In this frame we see the lobby from the other side of the room, this now grants us the ability to visualise the whole room as we witness the exchange between the secretary and Jonathan. This captures the moment when Jonathan enters the lobby and the secretary looks up to greet him coyly. I have placed the picture up in the background, as a means to acting as a sufficient transition to the next scene; the scene being the trade at the checkpoint outside the warehouse. The warehouse depicted in the picture bears an antique look, conveying the 1920s time period in which I was wishing to achieve in that scene.
Key Frame 3
For this frame, I tried to use an area in which looked like a checkpoint, a place where traffic would be stopped and monitored. This scene captures a trade of illegal liqueur between two parties. One feature I changed, using Photoshop, was the sign in the background. This was from the name of the company that the buildings belong to, to "checkpoint 1". I found this a good angle to set up the table and actors, on the grounds it captures the red and white barriers in the background. Having Lambert direct his men in the background is also beneficial as it promotes a realistic edge to the frame. This is complimented with Scott looking deep in thought at the map, checking over and planning his trade routes.
Key Frame 4
This frame captures the moment that Scott and Lambert meet with the three gentleman from Chicago. This scene is in the 1920, so although it was a great location to promote the idea of a checkpoint and warehouse, it was hard to get an angle which did not capture any aspects that would indicate that it was the postmodern era. The frame still captured several vehicles, so in order to cloak the easily visible vehicles, I photoshopped an old army style truck in front of them. To make this realistic I added shadows under the truck and moved Scott and Lambert in front. I also kept the two additional actors in the background, shifting cargo between the truck and another location, to demonstrate the shot was taken mid trade.
Key Frame 5
In this frame, I have captured Lambert and Scott in a point of view shot from the back of the truck as it drives away. The intention was for it to demonstrate how the characters are feeling without the use of dialogue, merely through the use of their facial expressions and actions. Lambert hides his anger through a fake wave and appears as though he is grimacing or gritting his teeth. Scott peers over in disapproval and a sense of detachment. In this frame I also needed to Photoshop the sign in the background so that it would read "checkpoint 1" similarly to before.
Key Frame 6
This frame is of the hallway in Matherson's building. It captures Jonathan's ascent up the stairs in order to get to Matherson's office. I placed a picture up in the windowsill in the background, displaying Steven and Cray with their arms around one another, communicating a strong friendship. Similarly to the picture of the warehouse in the lobby, this picture acts as the transition the camera will use to the next scene (Park Scene). In addition to this, I photoshopped another three pictures onto the wall. One is the melting clocks by Salvador Dali, the next is Night Hawks by Edward Hopper and lastly The Lament For Icarus by Herbert Draper. I chose these paintings as I felt they would be effective symbolism to correspond with the plot line. The melting clocks can indicate the warping of time as we jump from different ancestors in different time periods. Night Hawks captures three strangers, where we can only speculate and guess as to who they are and why they are there, constructing a sense of mystery, similarly as to the intentions and purpose of Jonathan being there. The painting of Icarus can be used as foreshadowing, in relation to the character of Matherson. This is on the basis in Greek mythology, Icarus' downfall occurs as he flies too close to the sun. Matherson is killed by Jonathan as a result of where his past actions have lead him. The room in the background is left in darkness, a room Jonathan has to pass in order to reach where he is going. Symbolic of needing to pass through dark times for hope of a brighter future.
Key Frame 7
In this frame, the staff member in Matherson's building is rolling the trolley from a room into the hallway, in the process he bumps into Jonathan, waylaying his progress in reaching Matherson's office. It is at this point that the camera pans back to the photo in the windowsill and transports the audience to the park scene.
Key Scene 8
For this frame, I placed Steven and Cray in the bandstand as they wait to meet the two park contacts who they are going to carry out a drug trade with. In the bottom right of the image I have placed the drug bag. Cray stares into the distance waiting for the contacts, as he converses with a concerned looking Steven. He holds a wallet in his hands. I feel the angle in this frame is effective with the scenery, as it captures the tree line and greenery around them. In having this scene in the park allows for high levels of light, complimenting the narrative, making reference to a positive discussion of the future and thoughts of Steven's family.
Key Frame 9
This moment is when Steven shows Cray the photograph of his baby. I chose to have this shot from over the shoulders of the characters, as this way we view the image as they view it, allowing us to align ourselves with these characters and feel their emotions. This constructs a caring nature between the two characters, making us hope for a successful drop so that they may carry on with the positive aspects of their lives.
Key Frame 10
Here we witness the trading of the drugs for an amount of money in the briefcase, provided by the two park contacts in the right of the frame. The contact in the background has just taken the drug bag from Steven, and now Steven is taking the money from the other contact. The park contact handing over the money carries a smirk, as if taunting Steven with something he does not know. The park environment is continued by including more greenery in addition to a stand alone bench along the pathway.
Key Frame 11
Here Steven becomes aware of the Cray's betrayal against him. The frame captures Steven turning back around after having taken the money from the contacts, only to be met with a gun pointed at his head by one of his long standing friends. Steven appears shocked by his facial expression and conveys a sense of weakness as he cradles the briefcase close to his chest. In this shot, the surroundings focused on have become dark colours and dying trees, to shift from a positive atmosphere to a tense and negative one, arguably seen as a form of pathetic fallacy. Having a larger focus of the characters low lit surroundings in this shot, helps in promoting an eery vibe. The dead trees lean across the pathway, blocking out even more natural light from the sky.
Key Frame 12
In this frame we bear witness to Steven as he lies dead on the pathway in the park, holding the photo of the ones he holds dearest to him. He has a bullet wound in his head. To construct a realistic wound, I applied fake blood onto the actors head in the park, then blurred in a gun shot wound on Photoshop. I also used the paint a blur tool in Photoshop to create the puddle of blood around the exit wound in the back of Steven's head. To add to the sinister nature of this image, I applied some of the fake blood onto the photograph, as if it were smeared on the image by himself as his last action was reaching for the photograph of the people he loves, making his last thought a happy one.
Frame 13
After having walked through the hallway, following the jump back in time to the park, Jonathan arrives at Matherson's office. Matherson greets Jonathan in the doorway, Jonathan stricken with a grin, aware of what lies ahead. They both have a firm handshake, keeping eye contact, trying to gauge the mindset and behaviour of the other.
Frame 14
This Frame captures Matherson and Jonathan during their conversation at Matherson's desk. This is reinforced by the way Matherson is using a hand gesture, to indicate he is explaining something to Jonathan. In order to make the table more like a large office desk, I used various props such as a desk jotter, a desk lamp, paper holder and decorative items. I used larger ceiling lights in order to create a eery and tense atmosphere, on the basis it shows up any reflections and shadows.
Frame 15
Here Matherson is standing after having become enraged by the manner in which Jonathan in speaking to him. Shortly after standing Jonathan pulls a gun and points it out across the table; with hardly any accuracy, but enough to act as a sufficient threat. This is why in the frame Matherson's eyes are cast down towards the gun and he no longer has an expression of anger, which was his motivation to stand, but in fact now fears for his life and has adopted a face of concern and discomfort.
Frame 13 is the start of the Street Fight scene, when both rival gangs stand opposed to one another. One side is headed by Jonathan's ancestor Finn, the other side by the younger Darren Matherson. It captures the actors in varying poses, all waiting for the violence to ensue. They look threatening to one another while the brief exchange occurs between the two gang leaders, Finn and Darren.
Key Frame 17
In this frame, I have decided to catch the gang fight in mid swing, having each of the actors engaged in combat, creating multiple areas of actions, where no one thing is the focal point. This helps promote the disorganised and chaotic nature of the brutal fight. All the actors are dressed in casual thick clothing, conveying the idea they have come out anticipating a fight.
Key Frame 18
This is a key plot point, when Finn's gang has been violently massacred and are left dying, scattered across the fight zone. One of Matherson's men has died and his dog has left the area. He has two men that remain, one left fatally wounded in the shoulder, the other holding Finn up on his knees. Finn has been violently beaten and has cuts all over his face. Matherson stands ready, about to crack open Finn's skull, ending their rivalry between the two gangs.
Key Frame 19
In this frame Jonathan has his arm extended straight, pointing the gun directly a Matherson's head. To convey Jonathan as someone now dark and sinister, his face remains in the shadows, whilst Matherson's face is lit, capturing the sadness and concern regarding the matter of whether or not he will survive this ordeal. His face also demonstrates a level of realisation, understanding now that this is his comeuppance as a result of the life he has lead. Jonathan is not only shrouded by darkness, but he is also staring Matherson directly in the eyes, fully aware and fixed on what he is about to do.
Key Frame 20
This is the final frame, the moment after Jonathan has just shot Matherson. It captures Jonathan just about to leave Matherson's office, while his adversary lies dead across from him on the desk. He is slung back in his chair, head cast back, being made to pay for the action of not only himself, but also his ancestors. His families past of betrayal and rivalry with that of the Troop family has continued through to present day, unable to break from the life of crime they are sucked into.
Cast Photo
Additional Frames & Behind The Scenes
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