Production Plan

This is a copy of our production plan that we used whilst filming the footage for our film opening.

Screen play

Screen Play Snared

Title Name Continued

Originally the name we wanted to use for a film was "Phantasmagoria ". However that particular name is being released as a feature film this year, directed by Maralyn Manson. Due to the fact of copyright, we would definately not be able to pay the licensing fees to use the same title.

The new title we are using is "The Snared". One of our other original choices for a working title.

This phrase comes from a reference to the noose used to hang our protagonist, in the opening flashback scenes.

Audience feedback on first cut

We are looking at audience feedback in order to gain an insight into what people think we might need to change. We showed our opening to a group of year 13's and asked for their opinion.

After having received the feedback we were able to make adjustments to our opening:

1. Got rid of the burnt toast scene - we originally put this into shadow events in the future, unfortunately it didn't particularly achieve this effect so we decided to withdraw it.
2. Changed the Eviction scene, as the camera bag was left in the shot on our first cut, re-filming the stairs scene
3. Changed the redundancy scene - as the camera was letter-boxed 
4. Changed the ending where the protagonist wakes up to be a quick selection of shots flashing across the screen. 

First Cut

This is the first cut of our opening two minute at the moment it is a bit too long and we are still needing to re-film the eviction scene and the redundancy scene..

The Distribution Process

• The primary agenda of the distributor is to convince the exhibitor to rent, or "book", each film. To this end the distributor usually arranges industry screenings for exhibitors, and uses other marketing techniques that will make the exhibitor believe they will profit financially by showing the film.
• Once this is accomplished, the distributor then secures a written contract stipulating the amount of the gross ticket sales to be paid to the distributor (usually a percentage of the gross after first deducting a "floor", which is called a "house allowance" (also known as the "nut"), collect the amount due, audit the exhibitor's ticket sales as necessary to ensure the gross reported by the exhibitor is accurate, secure the distributor's share of these proceeds, and transmit the remainder to the production company (or to any other intermediary, such as a film release agent). Ordinarily there are standard blanket contracts between a distributor and an exhibitor that apply to all films subsequently booked, although on occasion some of the terms, such as the percentage of the gross to be paid by the exhibitor, may be varied with regard to a particular film.
• The distributor must also ensure that enough film prints are struck to service all contracted exhibitors on the contract-based opening day, ensure their physical delivery to the theater by the opening day, monitor exhibitors to make sure the film is in fact shown in the particular theatre with the minimum number of seats and show times, and ensure the prints' return to the distributor's office or other storage resource also on the contract-based return date. In practical terms, this includes the physical production of film prints and their shipping around the world (a process that is beginning to be replaced by digital distribution) as well as the creation of posters, newspaper and magazine advertisements, television commercials, trailers, and other types of ads.
• Furthermore, the distributor is responsible for ensuring a full line of film advertising material is available on each film which it believes will help the exhibitor attract the largest possible audience, create such advertising if it is not provided by the production company, and arrange for the physical delivery of the advertising items selected by the exhibitor at intervals prior to the opening day.
• If the distributor is handling an imported or foreign language film, it may also be responsible for securing dubbing or subtitling for the film, and securing cencorship or other legal or organizational "approval" for the exhibition of the film in the country/territory in which it does business, prior to approaching the exhibitors for booking.     [Wiki-Pedia] (No Quotes included within this post)