MEST 2, Print Brief:

Photoshoot:

1. The main characters are Malik, Lucas and Donald - they are of course going to appear in the front cover of the programme as the whole premise of the film revolves around those characters, specifically. 
2. Images needed on the contents page would be such as themes and conventions that link to the film's plot, so something like Malik, Lucas and Donald standing side to side of each other, or someone grabbing hold of the protagonist from behind, drawing a gun or knife.
3. The double-paged spread will include images such as low-key lighting for a chiaroscuro effect, as well as the light facing back to where the protagonist, creating a silhouette effect, and ultimately raising lots of enigma for the reader.

1. Shotlist:

• Medium-shot: Protagonist and antagonist beside each other, folding their arms
• Close up: Protagonist getting gripped from behind, shot type is to emphasize facial expression
• Medium-long shot: Protagonist getting chased by a gangster, showing full body of both
• Extreme close-up: Eyes of the protagonist with the iris/pupils displaying images of the situation
• Long shot: Showing silhouette effect, full body shot

Costume, props or make-up:

Costumes are going to be very straight forward for our film. We will be wearing things that follow young, gangster, British life, and conventionally speaking, this would mean things such as tracksuits, preferably from a sports brand. Caps may be used too, for enigma codes.

And props are:

• Handbag
• Toy gun
• Torch
• Cigarette 
• Baseball bat
• Anything that substitutes a knife

Preparation for the Wednesday, 20th January, photo shoot:

Preparation obviously includes all those things mentioned above are agreed with the group, a final decision. Props wise, some of the things listed are still yet to be in our hands.

Research:

1.)

This BFI Film Festival programme front cover definitely includes:

• Title of publication - written in big, bold letters to state the programme. Made more appealing through the use of font colours, too.
• Colour scheme - as mentioned before, fonts have bright, vibrant colours that possibly look like fireworks, and this is very well fitting as we associate this with a "festival"
• Language -  as mentioned on the convention notes, it is 'economical' because it states "in partnership with" "American Express". Very snappy too as it states it's business and it's business, only 
• Date - states the film festival's date, and is clearly written

2.)  5 arts centre or cinema programmes/brochures:

This BFI brochure of 2015 definitely has experimented with the use of different colours a lot, and the color scheme is what they're usually known to use. However this brochure in particular from them has instead used models that has the colourful scheme applied, different to the usual text.

  

Another BFI brochure, but instead this is for horror movies. Obvious conventions such as the sinister, pitch black image background support it's genre. However the main thing I will be taking from this brochure is the sort of distorted, "drugged" vision (the gate), in order to emphasize it's unsettling and perhaps violent nature.



This film brochure has unusual conventions and an unusual colour scheme. It portrays a picture of a toy bear, wearing a bucket hat, and race-cars and race-bikes - there seems to be no connection between the two images, however it may just mean that there is a lot of variation in the festival. Perhaps I will take into account of this, and use collages of images from objects to places that have some sort of relevance or a motif to the film.




Straight from looking at this brochure, it has a very simple layout. It has a very straight forward message and purpose with the necessary details and nothing else. This means there is more space for images, and is also the perfect opportunity to have a meaningful, enigmatic, image on board. I will definitely take into consideration of this.


  

This brochure has a landscape layout, possibly making more room to the left or right, depending on the central image subject's position. This allows an organised set of information to be displayed, for example on this, the details, dates, programme name etc is all on the left.

3.) 5 contents pages from arts programmes or magazines:
 

This contents page is very well organised. The headlines/titles are all on the top, while all information is at the bottom. Font color schemes are also very fancy; it has a 3D rgb effect which holds very nice aesthetics and is ultimately attractive. The color schemes are also significant. Each the title, information and additional lines are coloured, according to what they present.



This brochure's content page is very well informative, as well as easy to navigate. Each film has its own image above all the information. It is an overall plain and simple contents page, just like the previous one. The brochure's simpleness of color schemes - white and black also emphasize on it's simplicity.

 

This contents page is very clear and concise, labeling each specific page number to each content and so forth. The font in particular has also been significantly made different to the others. It is very bold, red and big in size compared to the others. Colours of red also catch the attention of readers, so this is another reason why it's as concise.



This contents page looks very professional. It has lots of images, meaning lots of news and information, too. Images of different conventions (bands, movies,talk shows, films) are all in one page. Images are a short way of putting messages all into a short amount of space.



This contents page has a unique layout. As you can see, the image overlaps onto the other page, yet still not ending. Information is also all into one page, where the majority of the space is taken by the image. This just makes the page seem more appealing and attracts attention. Color schemes are also very organised - there is a mix of black and white, specifically for the text in order to make it more visible. Other things to note is also the date - the date is written in bold letters, along with a contrasting background colour to emphasize and bring it out more.

Planning and Sketching:

Fade In:
Park Royal - Dusk



Malik and his friend, Lucas enter a narrow tunnel way, exchanging jokes and laughing.
Malik, Londoner, from Hackney and ex-gang member, formerly ranked Capo laughs, telling Lucas jokes about his night out in a club.

                 Malik
                 [Laughing hysterically]
                  A... and then I slapped that slut away from me,                     she tried groping me! 

Lucas, Londoner, from Hackney  ex-drug trafficker, walking lifelessly with noticeable enlarged pupils.

                                         Lucas
                 Malik, bro, you gotta rock this joint, mannnn... -
                 Focused on Lucas, Malik suddenly stops

                 Lucas
                 Was' up with you? Les go man, boss is gonna get                      pissed! 

  Malik stares into space as he looks back, completely ignoring 
  Lucas.

                 Malik
                 I been here holmes.

  Lucas squints his eye, laying his right hand out.

                 Lucas
                 The fuck you talking about, Mali? 

  Malik, looking around almost as if he's exploring a ruin.

                 Malik
                 This is where Life 1 ended for me, bro.

  Lucas, looking at his marijuana cigarette confusingly, carelessly     throws it on the floor.

                 Lucas
                 Mali, tell me I'm not on a bad trip...

  Malik again staring straight ahead of the tunnel, lifelessly.

  Transition pan in from iris. 

Dissolve in:
Park Royal - Midnight
  
Gloomy surroundings, muffled, eerie voices.
                  
  BENJAMIN, hired mafia mercenary, associated with rival gang
                Benjamin
                KEEP running, Malik. It only makes me more                       excited.
                
                Malik
                FUCK AWAY FROM ME, MAN!!!

  Benjamin, slowly lifting his magnum caliber... Shoots

  Loud flash bang is heard, sending Malik back to his normal       state
  
  Malik, on his chest on the floor and arms spread

  Lucas, looking completely alien 

               Lucas
               BRO, are you okay?! 
               
               Malik
               Yea-... Yeah... lets go.
    
               Lucas
               You got problems, man... or is it me that's just been                blazing one too many...

 Malik smiles and pats Lucas once on the back, and continues  walking through the tunnel

               Malik
               Sorry, bro.

 Slow fade out.


Scene 3, fade in:

Malik constantly looking back...

Malik, overflowing with paranoid thoughts of him being chased, so he turns around

               Malik
               AHHHH!!!
A gang of mercenaries - 3 men each with weapons held in their hand starts following Malik from behind, slightly increasing their pace over time.

Malik looks back once more and the gangsters are only a few metres away, then the Scene blacks-out...

Scene 4, fade in - interrogation room

DONALD PRICE, or "Don" for short - the Godfather.

Donald with a picture of Malik on his hand, gripping furiously smashes the picture on the table.

              Donald
              I want him dead or alive, he needs to understand that               he shouldn't mess around with a millionaire's money.

Donald, slowly getting up from his chair proceeds to grab a black gym bag and slowly unzips it...

              Donald
              This is yours if you complete the job...

The two mercenaries nod their head and slowly walk away.
              
              

  



  

   

                

                 

     

audience focus group

Audience research focus groups:

What the focus group involved:

Our group had discussed our film, "Viva La Miscreant"and it's constituents such as the:

• Title and tagline
• Genre
• Log line
• Other successful films that are similar
• Narrative structure
• Main protagonist, their desires, the conflicts they encounter
• Target audience

Each or more of these things were discussed and more conveniently by the members of our group that came up with some of the ideas, knowing that they have a more in-depth explanation to their choices. Our whole purpose of this presentation of the film was to fish for any ideas, whether it'd be constructive criticism or compliments, assuring what we're doing wrong and what we're hopefully doing right. 

Key-quotes from the pitch (not exactly quoted to exact words)

• "Don't try to be too ambitious with the mafia gang conventions" 
• "What is the connection between the Spanish title and the Italian mafia gangs?"
• "In your tagline, try not to mention the protagonist's name"
• "Structure of the story definitely sounds interesting and I look forward to it"
•  "Ideas and connections of modern UK gang life could definitely relate to this film"

As a result of the discussion I definitely felt that it was far from the group's benefit (in a good way) and helped us pick out blatant, basic flaws that we had made in the film's pitch such as unrealistic ideas of mafia gangs. An example of this would of course have to be the matching mis-en-scene - the costume, and where we're actually going to get each one us a tie and suit, knowing that we were initially going to have a very conventional mafia gang story, but this has obviously been scrapped.

Other confusing things such as Spanish film title, yet an Italian mafia gang are also going to be straightened out as there is no sense in having the two languages together, maybe just because they're associated with gang life and violence, but for the most part it wouldn't make sense. So apart from that, discussion wise it was very beneficial as positive feedback were given on more of the important and big things in the film structure, rather than little, silly mistakes which can be easily taken care of which was a good sign that our film structure was not all lost and was at least heading in the right direction.

Also the target audience would most likely and maybe obviously be teenagers of the male gender, preferably around the ages of 14-18, and I chose this range just not under speculation, but according to various studies shown being that their appeal goes towards violence and any nature that we would normally associate with young, reckless and free-spirited males. I would also then say according to psychographics, maybe a borderline between low-class and middle-class as gang violence is of course an uncivilized act, so it wouldn't relate to high-classed people, ever, however they may be interested by it.

As a result, the new film name is 'The Hunting Season', instead working with young, British conventions.

      

BBFC Institution Research:

1.) BBFC - otherwise known as "British Board of Film Censors" is responsible for the certification of films, to see if that they meet the agreed conducts for the audience, and to classify them e.g. PG 16, 12A etc.

2.) A film is refined by a series of processes, responsible by an examiner, whether it'd be specializing in games or movies. Normally an examiner would watch and analyze DVD's on their own, which is called to be "solo-viewing", however bigger institutions offer bigger attention, therefore cinema films require rating in teams of two. These examiners take into factors such as mainly: general context (plot, character etc), cinematography and language; sex; drugs etc.

3.) When BBFC undergoes classifying films, lots of issues will undoubtedly occur, and problems will conflict from criminal offences; law to discrimination and imitable behavior etc. What the next step will occur is to then look at things from the film's perspective, e.g. mildly sexual innuendos etc, but taking into an account for example that it was in a kid's 12A film would then obviously mean that it is absolutely inappropriate, therefore should have action taken.

4.) BBFC's reward to labeling The Dark Knight as a 12A certified film would probably have been controversial when just looking at the conventions of the movie alone, such as violence that wouldn't seem appropriate for 12+, at all. However taking into account the origin of the plot and characters- Batman who comes from DC - a comic company which would appeal to kids, hence the movie should do so too in some respect, but not all. So my honest opinion would be that BBFC did rightfully certify it as a 12A, knowing that it is a 21st century movie, and that our generation of kids are more accustomed to the violent nature of things, therefore it is a win-win for both the film's hits and for the wider range of audience it offers by doing this.

5.) The guidelines for a 15 certificate are an even and mild share of the following:

• strong violence
• frequent strong language
• sexual activity
• verbal references to sex
• sexual nudity
• discriminatory language or behavior
•  drug taking

6.) Attack The Block - Classified by BBFC as to be 15 uncut, probably due to the fact that it is a sub/hybrid genre of comedy, mixed with horror AND science-fiction - a very unusual and bizarre genres put together, and maybe this appeals to teenagers of our generation, who have unconventional views and like a mix of things.

MM52:

2.) Capitalist views from the Hunger Games

Arthouse film institution research:

Production: Independent film studios:

1.) 

• Donnie Darko was produced by the studio, Flower Films - an American production company founded in 1995 that produces films and television programs. 
• The Falling was produced by both British Film Institute and BBC Films - both being very successful companies in the British film world. 
• Eternal Sunshine of the Spotless Mind was produced by Anonymous Content and This is That. 'This is That' has grossed over 21 films.
• Appropriate Behaviour was produced by Parkville Pictures - an award-winning and BAFTA-nominated independent UK film production company based in London.
• Let the Right One in was actually interestingly produced by two companies from different countries - Sandrew Metronome from Sweden and Magnet Releasing from the US.

2.) The studio has produced other notable films such as: Charlie's Angels, Charlie's Angels: Full Throttle, 50 First Dates and more.

3.) Though a $93 million dollars budget that went into Charlie's Angels wasn't necessarily "low" at all, it is still one of the most successful films to Flower Films, having $264.1 million in just box-office. On the other hand, the lowest budget film from Flowers Films would be Whip It - almost a quarter of the budget that went into Charlie's Angels. The low budget did however reflect to its appeal, having only $16,633,035 in box-office.

Distribution: Independent film distributors:

1. and 2.) The 10 steps of a film distribution:

• The film production stage:
• Producers, directors and screenwriters begin planning the production
• Production finance and crew are finalized so that the production can actually start of the film can actually start i.e. filming
• Filming starts off, whether it'd be in a studio or on a location, then once all necessary footage is shot is when editing comes in

2, 3,4 and 5.)

• The distribution stage:
• Once production of the film has finished, distributors have the role of how the film is going to be released, in other words - a strategy. 
• The distributors will then take legal action for screening the films within the cinemas
• Distributors will then try to attract attention and create hype

6 and 7.)

• The final distribution stage:
• The film and disk, as well as the classification will be sent off to the cinema, prior a few days before it is premiered 
• The film runs for a fixed and agreed number of weeks, however can also increase if the demands are high

8.) The distributor lets BBFC to examine and certify that it meets all legal conducts for viewers in the cinema


3.)

• Donnie Darko was distributed by Pandora Films and Newmarket Films
• The Falling was distributed by Metrodome UK
• Eternal Sunshine of the Spotless Mind was distributed by Focus Features
• Appropriate Behavior was distributed by Gravitas Ventures 
• Let the Right One in was distributed by Artificial Eye 

4.)

• Donnie Darko has made quite a significant profit, taking note that it has the lowest budget out of all the films I analysed. It has a budget of $3.8 million and a box office of $7.6 million, resulting in profit of $4.2 million.
• The Falling has unfortunately made a really unfortunate loss. Starting with a budget of £750,000 and box-office hit of £368,378, resulting in a loss of £381,622
• Eternal Sunshine of the Spotless Mind has also made a huge profit, about three-quarters of it's starting budget of $20 million and then a box-office of $72.3 million, resulting in a profit of $52.3 million
• Let the Right One in has made the most profit, taking into account its low-budget of $4.5 million and box-office of $ 11,227.336 , resulting in a profit of $6727336.

5.) Curzon Artificial Eye is an English, British film distributor that is most significant compared to other distributors, given that it focuses on foreign-language films and art-house films in cinemas. The distributor allows opportunities of low-budget and art-house films to gain reputation, and is a hive of entertainment for film critics. It's high standard and quality of films that appeals to the art-house film audiences has reflected and is evident witht he directors that the company has worked with. The company has worked with (which is known to be one of the best directors in the world) Michael Haneke, Lars von Trier, Abbas Kiarostami and Andrei Tarkovsky.

6.) Ice and the Sky trailer:

This film trailer has allowed me to learn and use different types of sound effects that are non-diegetic, such as whooshes that add suspense and give an epic feeling that sutures the audience, as well as different formats of video such as for e.g. the 4:8 ratio, giving off the old, vintage conventions. The film has also noted to have great cinematography from different angles.

Mia Madre trailer:

  Mia Madre has exceptional cinematography too, especially the panning for a nice, subtle attention. Same as before with Ice and the Sky, non-diegetic sounds such as the muffled song in the background can help suture the audience and ultimately create an intentional emotion that is parallel to the clip.

Kiss of the Spider Woman trailer:

Like all of the previous cinematography shown in Mia Madre and Ice and the Sky, Kiss of the Spider Woman has exceptional use of it too. One thing to take note and definitely use in my film would be the slow panning on a clip of a character's facial expression, just to emphasize and add effect to it. Editing wise, cross fade transitions also allow for a nice effect, a sort of gloomy feeling that would maybe suitable for a memory or flashback.

Exhibition: Arthouse cinemas:

1.) The arthouse cinema I have chosen is ironically the Electric Cinema, based in London. The arthouse cinema is located in Notting Hill and Birmingham, London and is one of the oldest working cinemas in the country.

2.) The cinema screens both mainstream and arthouse films, and their programmes differ from major cinemas i.e. Vue because it gives films that are low-budget and the art of film aspects more appreciation, also raises a company's opportunity. It seems that major cinemas only care for making money, whereas arthouse genuinely want to embrace film arts. Films on this week in the Electric Cinema are: Bridge of Spies, Carol, The Dressmaker and Black Mass.

3.) The audience would most likely be aspiring filmakers, possibly because (as said before) arthouse films have more appreciation and professionalism in the filming aspect, so this then means they can be more innovative and be inspired. 

A case study in independent film production: Film London and Microwave Film:

1.) Film London is UK#s public agency for films and media. The appreciation of arthouse films is also evident because the agency/organisation is for non-profit. Film London's ultimate goal is to promote and develop film culture. It exists as the very foundation for uprising films, directors, etc.

2.) Microwave Film is a low-budget film fund that was raised in 2006, and the goal is to simply shoot a full-length feature film with a limit of £100,000 - it is ultimately open for aspiring film makers, film makers in documentaries, fiction, animation etc.

3.) London Calling is a film-funding project that is open to the pupils in London. London Calling also provides support such as training and mentoring - a great way for aspiring film makers to reach to the top, professional roles in the film industry. It's main goal is to basically find talented film makers. It encourages film making because the project essentially provides each team with everything they need, and all they need from themselves are their ideas, visions etc for a film.

4.)

Borrowed Time trailer:

Borrowed Time fits in very well for an arthouse and independent film because it's plot doesn't consist of something bizarre or completely alien to the real world like in mainstream movies, but it has realistic views of the real world, instead, and has attachments to some people in London as it might be a reflection to their own selves, given that it is about urban youth. Therefore target audience would most likely be for young, London teenagers.

  iLL Manors trailer:

iLL Manors, similar to Borrowed Time again revolves around the urban youth lifestyle of young, ghetto Londoners. The arthouse film is ideal as the plot sort of goes into the deeper side of gangs, drugs, violence etc. What we normally see of ghetto, money-deprived "chavs" to say is taken further, and therefore appeals again to teenagers, maybe even adults too, given maybe that they are fascinated by these kind of people.


Mum & Dad trailer:

 
Mum & Dad - a very sinister movie, particularly appealing to arthouse and independent films as it causes paranoia to whether the grim and grotesque plot could well and truly be one of your own and happen to you, seeing as it is realistic. It explores the story and truly creates a frightening story that sutures the audience in, which is why it fits into arthouse, but steers away from mainstream movies.

3 Tips for film production:

• Allow change - representation - conventional themes, mixed with the actual reality of things will cause incremental change and has an effect on the audience watching the movie, rather than just for entertainment
• Don't avoid little problems - things like too many characters, budget etc, little things can cause a huge problem in the end once you actually start production or half-way, so it is important to have an organized and good foundation
• Have realistic expectations - we're not working with professional, Hollywood standard equipment, so take all resources and put good use 

  

The Falling's clip starts off with a close-up and slight panning of a bruise, presumably from the young girl, given that her mis-en-scene reveals about her rough character from the shadowed eyes, almost no make-up, hence her tomboyish outlook and ultimately giving hints that she is the protagonist. A then panning shot to the right is seen, then suddenly a straight-cut to a completely, unexpected sex scene which may be some sort of a link to her, but not to the audience which then raises enigma codes and curiosity to what the clip meant.

The clip also seems absolutely contrapuntal to the mood that was initially set, but then the bizarre and abrupt sex scene of course did otherwise, and the director of this art house film has definitely done good so in playing around with the emotions. Furthermore is then a straight cut to a medium-close up camera shot after the sex scene. The medium-close up I think emphasizes on the protagonist's facial expression, and so we can see her staring blankly, meaning that the previous clip was some sort of a memory/flashback to her. To support this then is a very fast paced series of images, demonstrating a montage of again her memories.

Something noteworthy to add about the montage is that it also shows a stuttering flicker to perhaps show some sort of corruptness, loss of memory too? The transition then leads to the end of her school time, where a slow panning from the school bell leads to the medium shot of the school exit. The school's student crowd also adds more realism to the scene, to then again a slow 180 degrees slow panning, then to a long shot and straight cut of someone waiting.

Researching the film's main target audience, it has no specific set of people according to the director, Carol Morley, and that the film has "lots of accessible ideas" so it's really hard to pin down an exact group, but it's safe to say that it appeals to all ages of people. 

Donnie Darko starts off with contrapuntal sounds of a soothing, calm music that is played over the protagonist's past memory, along with the use of straight cut to suture people into the mood, to keep attention. Perhaps this was to reflect the happy memories the protagonist once had, so it would only make sense to add music that also reflected it. 

Camera movements from the cinematography are also very hard to spot, almost unnoticeable. We see a very, very slow camera movement that focuses onto the boy, also significant because it applies to the boy only, again evident of why he is the protagonist. Noteworthy is also the correlation between the level of how much the camera is zoomed in, to the importance of their dialogue - perhaps this is to show a clear view of emotions that each person gives from the medium-closeup. Similar to this is also the straight cut to a medium shot that shows both the therapist and the boy, this sort of breaks the tension as the protagonist delivers a significant and iconic line in the film. Then straight after returns to the medium-closeup to bring all attention back again. Reverse shots then play a part, back and forth.The 180 degree rule was also obviously well done, we can see a very deep-rooted conversation between the two characters, yet still keep attention, which the director of Donnie Darko has done very well so in doing.

The mis-en-scene and lighting has also been appropriately used. Casual clothing, along with the location set in the house, with low-key lighting to add realism totals up a perfect scene that involves a therapist/psychiatrist - a scene that would normally associate with the real world. 

The age range would be around teenagers, about 16+, mostly because the plot is something that includes phenomenons, superstition etc on a scientific basis, but some viewers may not even be aware of this.

       Eternal Sunshine of the Spotless Mind has great use of cinematography to add realism to the film. In the first few seconds we already see both variations of panning and tilting, almost as if its a hand held camera to then a straight cut, using the 180 degree rule properly. Tracking shots then emerge, adding realism to the cinematography as there are shakes that resemble e.g. someone walking - this sort of allows the audience as if they are the ones that peak through the bookshelves and follow around the two characters.

The mis-ens-scene for the girl is also an easy answer to who's the protagonist. Someone with bizarre clothing, red hair etc, a goth type look would obviously look the unusual, hence special type. Reverse shots are almost avoided while there is a tracking shot ongoing, instead it moves from one of the character's view (steadicam) to the other from tracking shots, again. Noticeable is also just the use of medium shots, from torso to face, it keeps a balance for both the facial expressions - an important role, especially in Romance genre movies like this, and the body language.

The target audience could be either teenager or adults, so probably a mix between the two would be a more likely option. I'd say teenager at first because they're known to be appealed by drama, hence Romance, too. 

Appropriate Behaviour. Straight from the beginning we hear a sound bridge, of a medium-ish long shot of the outside store to then a straight cut that leads to the actual scene. This gives the character subjectivity, e.g. store, hence shopping. It stresses the connection between the two scenes. With this being said, lots of medium shot variations are demonstrated, maybe for realistic reasons e.g. there just isn't enough space in the shop. We can also see a very slight shake, as well as slight tracking shots too, and this allows to shoot a scene all in one take while undergoing a medium shot, which makes it almost unnoticeable for the audience. However if close ups were used, so will reverse shots have to be used too, continuously, although it does allow a clear view of each character's facial expressions. 

Diegetic sounds such as the store's music also play during the entire clip scene, but it it almost unnoticeable, however it does set some kind of mood. Also significant is that the clip scene avoids silence, perhaps to avoid an awkward, tense mood, and that the music also loudens a tiny bit when there is no dialogue.    

Target audience would most likely be young adults, knowing that Appropriate Behaviour is a mix between romance, drama and comedy, and this mix of genres usually have a plot that appeals to young adults, maybe even teenagers.  

Let the Right One In - a vampire film, starts off with diegetic sound of the radio that would seem contrapuntal to a potential death scene that is about to occur, It messes with the emotion and confusion is caused.  

The mis-en-scene of the three gangster characters also show blatant invasion in the swimming pool area. They wear outdoor, casual clothing which would seem unusual in a swimming pool, so we can establish that they're obviously here for another reason, but definitely not to swim.

Cinematography also involves a tracking shot, focused on the eldest and antagonist perhaps? It sort of has a low angled crane shot, which asserts his dominance and proceeds to take his jacket off, raising action codes that he is about to get down to business. Other action codes also add tension to the scene, such as when he unsheathes his knife. Other close ups of the villains also allow us to see a facial expression, example at around 1 minute and 53 seconds, we see a worried face, coming even from one of the villains would exaggerate how sinister and bad the situation is. We're also left with a shot of the boy holding his breath for about 25 seconds - it creates a tension as the seconds build up, not knowing whether he is still holding his breath or has died from drowning.

Let the Right One in shares a genre of both Romance and Horror, quite similar to the Twilight series. The target audience for this film would be wider than an ordinary horror. It's Swedish, so it appeals to a totally different segment than the traditional Western audience. The film would appear less to those who would revolt themselves in the grotesque, violent, gore scenes, hence why the "horror" in this movie is much more subtle, so perhaps the Romance is used to broaden the appeal.