Final Treatment

The film we have produced concerns the threads and links that bind us together in everyday life. Though the journey the film follows is ostensibly an every day occurrence, it is the way in which the story is told that the film holds itself up as a concept piece.
In terms of theme, there are three important aspects to the film that run in parallel that we hope to get across to our audience. The first is the tenuous threads and links that bind people together in every day life, the second is the colour red and the positive aspects of life that can be represented by the colour. We have chosen a shade of red that we feel is very bright and vibrant, partly because of the way it looks on screen, to emphasise the transitions and links between each new character, and partly because it matches the bright and summery mood we want to convey. The third theme works in conjunction with the red. Following tutorial conversations we came to the conclusion that red is very British, as are the locations and props we've used throughout the film, the third theme we want to convey then, is a feeling of "Britishness".

The film begins with our young male protagonist, a man of about nineteen or twenty, getting ready to leave his house in the morning, putting on his clothes and walking outside. As he reaches his garden gate, a woman brushes past him with a red bag, which then becomes the focus using a close up track of the bag as the woman walks. She clears shot and we see a man emerge from a red telephone box behind her and drop his red lighter. The action then drops to floor level and a woman with bright red shoes walks past the lighter to a man who then picks up a big red box, walks to camera and blacks out the lens. The next shot is one of him walking away from camera and sitting on a bench next to our protagonist from the beginning of the film, reading a paper. The protagonist then folds up his paper, stands up and hails a bus. The action fades out and back in again to a shot of him getting off the same bus. This is a point of view shot of a man outside a chip shop putting red ketchup on his chips. The protagonist is then crossed by a cyclist wearing a red jumper who we then follow down the street until he brakes sharply to avoid hitting a runner wearing red shorts and a red Ipod shuffle on his arm. He runs for several second, then looks to his left at a woman in a red dress posting a letter. The letter instantly drops through its receiver's letter box which we view as a point of view. He walks past the envelope on the floor and out of his door, he looks down at his car keys as he walks to his vehicle and looks up as a bright red car speeds past from right to left. The camera is sent into a spin (whip pan) and lands on a no entry sign in a new location. We tilt down to a photographer in a red hat taking pictures of a couple on a bench. A man with a red phone walks in front of shot and we hear the conversation he is having with the man on the other end. The man answering the phone is leaning out of his window in a terrace house in a red jacket. He sees our protagonist approach his door, hangs up his phone and goes to let him in.

Our film is essentially a more conceptual piece than it is continuous in an editing sense. We use each transition and each new character as a way of changing location. These location changes are deliberate and dissimilar enough to look that way. The sound emphasises the urban and suburban noises around our characters as well as using acoustic guitar music to keep the audience interested and to help convey our lighthearted and summery theme.