Props: The development and creation of the Hobo Stove.

The prospect of including a Hobo Stove, a primitive yet practical improvisation of a household cooking device, into our production was inspired by the concept of survival which is a major theme. Commonly, Hobo Stoves are used outdoors in survival situations by homeless people, and even backpackers, due to their simplicity and versatility, with the same effects as conventional household cooking apparatus. It is also quite widely recognised as a mean of survival in harsh times. Therefore, we thought it would be an ideal way to portray the inhospitable setting and quickly show the survival needs necessary, without going into much depth (which is impossible in trailers).

This stove may be built from a discarded tin can of any size by removing the top of the can.

Punching several small holes near the upper edge, and a larger hole on the side of the can near the bottom for fuel and air. The bottom of the can is not removed, as the stove would then be less intense and the fire might spread from it.  Fuel is placed in the can, along with dry leaves, sticks amd moss to burn, and ignited. Convection draws air in through the bottom orifice and heat comes out the top. A cooking vessel may be placed on the top. The bottom hole may face the wind for more heat or it may be partially covered with scrap metal if the fire is too hot.

Permission for Copyright Material.

Dear If These Trees Could Talk (Booking/Management),

I am Tom Mallinson and I am currently studying A level Media, amongst other subjects, at Bacup and Rawtenstall Grammar School Sixth Form in Rossendale, Lancashire. At present, my group and I have been tasked with creating a trailer that we soon decided should be a post-apocalyptic thriller. During the storyboarding process we all agreed that the use of the song "Malabar Front" would be the optimum accompaniment to the trailer as it will create the ideal melancholic ambience we are seeking at the beginning of the song whilst also embodying the grit and action, that we plan to implement into quickly paced montages in the trailer, with the songs stirring guitar and drum pieces. This will also exhibit the degree of planning we have put into this coursework and prove we aren’t just throwing in just any song into the mix. This is where we need you.

The mark scheme highlights that no copyrighted music is allowed in the production, other than music that has been permitted by the publishers and has been shown to do so. So ultimately, in accordance with the mark scheme rules, this email is just myself, and my group, formally enquiring over permission to use the aforementioned song during the middle and end sequence in our A2 level coursework trailer. Of course, we will mention the songs contribution to our final piece with full regards to copyright owners and publishers. In the event that your company does not govern the rights of usage for this said song then any help in navigating us in the right direction would be highly appreciated.

Thank you for your time to read this e-mail.

Yours faithfully,

Kieran Brooks, Tom Mallinson and Max Lake

We also contacted the publisher rights for The Ink Spots classic ''I Don't Want To Set The World On Fire'', EMI Publishing. After a conversation with the Andre Carroll, the music licensing assistant of the company, we were informed that a fee of £200 would be attached if we exhibited our work on any public area, such as Vimeo. This of course didn't meet our needs as we have to publish our work onto Vimeo upon completion so regrettably we had to abandon the idea to use mellow 40's blues to both accentuate the melancholy of events in the film whilst also contrasting from the action.





Make Up

Make-up

We will use make-up to really make the war veteran (Max), and the journalist (Tom) look believable to the audience. For Tom we plan to make him look more ‘beat up’ and hence changed by the conditions he has been in, this will connote he has stayed there for a while. For the War veteran on the other hand, he will appear filthy, beaten up and connoting he has been in the blast area for a while.

Pictures of us applying the special effects make up:

Instructions taken from Ehow.

Fake Wounds

1. Place 1/2 tsp. of petroleum jelly into a 4 oz. mixing bowl, and add red food coloring to it. Mix the petroleum jelly and the food coloring together with a toothpick until mixed.

2. Add 1/2 tsp. of cocoa powder into the jelly mixture. The cocoa powder will darken the mixture to make the wound seem fresh.

3. Tear one square of toilet paper into two to four sections, depending on the size of the wound. Place one piece of toilet paper against the skin, and cover it with the red jelly-cocoa mixture using a Popsicle stick.

4. Slightly pinch the edges and sides of the paper with the thumb and index fingers to mold the wound. Use the toothpick to slightly lift areas in the center.

Fake Bruises

1. Create a bruise that is 2 to 3 inches in diameter by patting one light layer of red eyeshadow onto the skin using a foundation sponge. Make an irregular circular shape on the skin's surface for a realistic look.

2. Cover the red eye shadow with one layer of brown eye shadow. Apply the color evenly over the painted area, while permitting 1/2 inch of the red eye shadow to remain on the outer edges.

3. Add a layer of purple eye shadow in the center of the bruise, 1/2 inch in from the brown eye shadow. Lightly spread out the purple eye shadow to the edges, over the brown, with your fingers.

Fake Cuts

Wet the end of a black eyeliner pencil, and draw a line across the desired area of the skin.

Trace over the black eyeliner line with red lipstick. A true red or brick red will work best. Using the tips of your index fingers, spread the lipstick out from the center to the outer edges.

Blot one light layer of purple eye shadow over the red lipstick with a foundation sponge. This will create an "infected" cut look.

Place fake blood from a costume store down the center of the cut, if a fresh cut look is desired.

Fight scene: How to make Fake Blood

Title and Logo Ideas

Title

Possible names for our film so far have been ‘Burning in the Skies’ which resembles the nuclear missiles and explosions tearing through the sky, also signifying the end of time. ‘Burning Jacobs Ladder’ was another name we had as Jacobs ladder was a ladder to heaven which the Patriarch Jacob dreamt about, therefore the burning can symbolise the severed connection from heaven as well as connoting the nuclear explosions once again. ‘Crack the Sky’ was the other possible name we came up with as nuclear war has effects on the atmosphere and the disruption it has had on civilisation.

Other names in which we came up with, but aren’t using are ‘Beyond the dying light, fading light, fifteen winters, 23:57, minutes to midnight, the birth and death of a day, shadow of the sun, solitary wasteland and shadow of the day’

Production Logo

For our production logo, we have had ideas of having the progression of man from apes with it ending in a man with a gas mask on. This would then show how we have evolved from apes towards men but, the gas mask would suggest that we have progressed into war or inhospitable conditions due to the connotations linking towards gas mask  Therefore this links well with the genre of our film with it being a post-apocalyptic. If we used this logo idea, a possible title of our film could be ‘Revolution’, but with the ‘R’ added as if it was added or graffiti’d on.

Another idea for a production logo is that it shows a man removing his face with something else inside of it. This is quite surreal and disturbing as the face is merely acting as mask for something controlling it deeper inside. Not only does it evoke a neurotic and dark nature but it is also open to multiple interpretations that can all essentially correspond with the film genre we are making; the dark nature of it would link well with our film trailer, but would also be able to link to other films easily due to it having no distinctive links with other genres. If this logo idea is used, we could use the title ’big empty’, ‘host’, or ‘writer’s bloc productions’ etc. as they can all relate to the logo in some way. The ‘writers bloc’ also plays on ironic humour slightly as it suggests the production group are lacking imaginative and fresh ideas, yet they have mustered up an entire feature with an accompanying trailer.

Trailer Structure

Logos of distributor and producer where music starts.

Shot of Tom walking which gradually gets over exposed connoting there has been an explosion.

*Nuclear Warning message* -Harry Shearer for BBC over video of a nuclear explosion.

Tracking shot across the wall, showing pictures of victims of the explosion

Tom scavenging with radio announcement over it: “This is the Prime Minister. Stay in quarantine; I assure you, everything will be alright.” Could zoom into radio.

A conversation between the journalist and the war veteran establishing a relationship between them.  – done at Waterfoot. Tom to Max: “Friendly!?”            Max to Tom: “I’ll be whatever you want for that can of beans” (Improvise)

Cuts to another conversation at night (around a fire. Possibly Res). Tom: “I just want to escape this place, forget my past”.                     Max: ”I know a way out, but I’ll always wander these wastes”.

Panoramic shot with montage of news report “Global economy is in meltdown. *static* Food supplies short. *static*Revolution is upon us. Shot of Kieran in field looking lost, Tom points gun at him, shoots the gun and then fade to black.

Enclave sat in a room (any room with chiaroscuro lighting).He slams shut his laptop and then he marks a map whilst saying “they’re here” when pinning it. Then it will jump cut to him cocking his gun.

Montage of dialogue which will be a non-diegetic voice over once we’ve finished editing: “Tom? TOM!” Journalist: “We gotta leave!”-  POV shot of Tom running.

POV shot of Tom looking at the picture then dropping it in an over the shoulder shot. Non-diegetic voiceover, Tom: “I knew this place once. I knew these people, I knew these streets. I knew myself”. Over “I knew myself” the curb stomp is shown then goes black.

Title of film is shown.

Bible quote is shown either as a voice over or text, using it as a tag line for the film.

Final shot containing either atmospheric shot or one liner from a conversation.

Release date and website is shown, as well as other institutional information.

Script

Excerpt of Nuclear Warning message by Harry Shearer for BBC

Radio Announcement from the Prime Minister:

PRIME MINISTER

This is the Prime Minister. Stay in quarantine; I assure you, everything will be alright.

EXT. WATERFOOT - DAY

A conversation between the journalist (TOM) and the war veteran (MAX) establishing a relationship between them.

TOM

       Friendly!? 

MAX

   I’ll be whatever you want for that can of beans

EXT. COWM RESERVOIR - NIGHT

Cuts to another conversation between Tom and Max at night around a fire.

TOM

I just want to escape this place, forget my past.

MAX

I know a way out, but I’ll always wander these wastes.

Montage of news report:

NEWS ANNOUNCER

“Global economy is in meltdown. *Static* Food supplies short. *Static* Revolution is upon us.

INT. COWM RESERVOIR - NIGHT

Enclave sat in a room (any room with chiaroscuro lighting).He slams shut his laptop and then he marks a map whilst saying “they’re here” when pinning it. Then he cocks his gun.

EXT. COWM RESERVOIR - DAY

Montage of dialogue with a non-diegetic voice over:

MAX

            Tom? TOM!

TOM

We gotta leave!

Non-diegetic voiceover of Tom:

     TOM

I knew this place once. I knew these people, I knew these streets. I knew myself.

Locations

In Waterfoot, behind a fish and chip shop facing Cordey's, is a decrepit house with boarded up windows, fire damage and all its copper and wiring nearly completely scavenged; I noticed this was an ideal place to film since it can symbolise what survivors must do to survive in our dystopian setting. Adjacent to this location is a useful route onto the river that runs through town. Even better news is that this route leads to where the river stems and appears akin to a dried out river basin which I personally think gives a strong ''wasteland'' ambience, especially once we incorporate Chroma keys and grey filters in the editing process. Following the river down a few yards there is an old mill/factory that has been left abandoned and as a result is now beset with weeds and overgrown foliage; a perfect component for the 'Chernobyl' aura and the feeling of desertion, death and even hopelessness. In addition to this, the area is quiet and riddled with run down metalwork and material, both common in post-apocalyptic settings. The most ideal factor for using this location is its proximity to school meaning we could film either straight after school or during lessons when it is still visible, as opposed to having to trek to a location and run the risk of it going dark early as it tends to do in the autumn.

In the end we didn't prompt for the Bacup location as it was under construction the week after I found it, meaning we couldn't get permission to film there due to health hazards and possible interference with working employees. 

Our next location was a burnt out and disused mill in Whitworth nearby Healey Dell and opposite a motor garage. The actual destitute mill is surrounded by a useful material 'dump' dotted with shattered walls and heaps of abandoned miscellaneous items littered about the perimeter. The windows of the building are mostly boarded up and an assortment of plant life riddles the exterior, some even bursts into the inside through fissures in the ceiling and walls. The rusted and dilapidated corrugated steel roofing is partially torn down, leaving a grotesquely shaped hole from which a deluge of murky light meets equally murky pools of rainwater and debris. The far corners of the mill are shrouded in gloom, and in the mid-ground what was once probably a loading bay for trucks and HGV's is now an unsettlingly dark abyss all of which evoke fear and venture. Ruptures in the walls reveal rusted piping that connects to filthy machinery, some of which have collapsed into metal corpses on the ground, whilst areas of erosion echo occasionally as rain drops trickle down the jagged sides and disturb murky puddles. The place is silent too, which is probably the most appealing aspect of the building; overall it fits perfectly with our ideal image of a place to shoot. 

Also in Whitworth is a wooded area next to an industrial estate and football pitch that is shadowy, rank with shrubbery and relatively quiet. We opted to shoot some dialogue shots at this location due to rampant nature spreading into man-made areas (which would happen in a post-apocalyptic setting as nature’s growth would be unchecked. A better, Hollywood CGI rendered version of what we were going for would be Post-Apocalyptic Manhattan in I Am Legend). 

In addition to this, we found a long abandoned facility near Spotland in Rochdale which is vast enough to cover an array of shots appearing to be in different locations. The main building in the epicentre of the area was once an asbestos manufacturing plant until recently when it created alternatives to asbestos up till it became defunct (the place has already been emptied of any volatile or potentially dangerous material so we're safe to be shooting in this location). Traversing through the centre of the area, and continuing on towards a dark wooded area (which we may also use), is a land subsidence containing a shallow river. There is a point where the river dries out below a bridge and looks desolate and evokes a sense of struggling to survive. The bridge can also act as a vantage point from which we can do some high angled shots. Inside the building, there are traces of humanity but they are scarce and diminished which is perfect to fit in with our post apocalyptic tale. Although deserted, the building has an uncanny feel to it like it still harbours ghosts of the past which we would like to encapsulate into our production, yet it is only a trailer and this would be a difficult task. 

We also used our deputy head teacher’s office as an FOB for the enclave antagonist in our plot. The room is neat, orderly and easily facilitated all the props we included, such as the Union Jack pillow. We used it as an idiosyncrasy of the setting that connotes a homely, mild mannered atmosphere whilst also acting as a contrast to the enclave’s destructive attitude towards Britain (they have had some role to play in the apocalyptic incident). Another clear advantage of using this location is that we can access it during school hours, alleviating us of any travel plans, and with very limited downsides. The room fits well with the chosen temperament of our antagonist since we opted for him to be of a suave, mellow and surprisingly amiable for a villain. An antagonist of the same ilk as a typical 'Bond Baddie' requires a suitable setting and the reasonably sophisticated room for a country wrought with desolation is more than sufficient. With the right camera angles and working of the rooms dark spots and curtains, we can make the room feel like it is isolated from the chaos of the world i.e.  underground in a bunker or a completely different location. 

Dialogue

Dialogue Ideas

Narrative exposition 

*Nuclear Warning message* -Harry Shearer for BBC

Journalist to War Veteran: “Friendly!?”

''Why shouldn't I just kill you now?'' ''Because if you wanted to kill me, you'd have done it already.''

WV to J: “I’ll be whatever you want for that can of beans”

Command to Enclave: “Contain the area. Don’t let word get out”

Enclave: “Roger.”

Montage of dialogue: “Tom? TOM!” Journalist: “We gotta leave!”

Radio Announcement: “This is the President, stay in quarantine; I assure everything will be alright.”

Montage of news report “Global economy is in meltdown. *static* Food supplies short. *static*Revolution is upon us.

Narrator: “I knew this place once. I knew these people, I knew these streets. I knew myself.

Character:  (laughs manically) Did you see it? Did you feel the swift hand of god as he struck down the unrighteous hordes? Pillars of smoke and blood will fill the air, and crack the sky.

(but the world held its breath; now it’s not the place I once knew.)

No food, no water, no life.

"God formed man out of the dust of the ground. Until the dust you will return."

OTHER

Journalist: “We had everything, everything we could’ve ever wanted. Now we have everything we never wanted.”

Journalist: “War has changed too much, should’ve listened to that Einstein fella.”

Army Veteran: “I’ll die, you’ll die, just accept it; the world’s gonna die!”

“Life and death are supposed to be extremes; not the same thing.”

“Well, my life is that of investigation, and I’ve found out you’re not worth investigating.”

“I need to expose the truth; expose the truth and things can go back to the way they once were.”

The Road- radio announcements at the start whilst showing destruction of the earth, dramatic dialogue between characters, mentions their goal/objective

Book of Eli – uses a lot of voiceover from the protagonist giving narrative exposition, also stopping due to action sequences,

Bible Quotes  

"Earth to earth, ashes to ashes, dust to dust" – spoken as a eulogy at many funerals, from a text in the Book of Common Prayer.

In sure and certain hope of the resurrection to eternal life through our Lord Jesus Christ, we commend to Almighty God: (name). We commit her body 

to the ground; earth to earth; ashes to ashes, dust to dust. The Lord bless her and keep her, the Lord maketh his face to shine upon her and be gracious unto her and give her peace. Amen.

The phrase is inspired by one that originates in Genesis 3:19, "By the sweat of your brow you will eat your food until you return to the ground, since from it you were taken; for dust you are and to dust you will return. The Bible makes several references to dust, one of the first being in Genesis 2:7,

"And I will show wonders in the heavens and in the Earth: blood and fire and pillars of smoke. The Sun shall be turned into darkness, and the Moon into blood, before the coming great and awesome Day of the Lord, and it shall come to pass that whoever calls on the Name of the LORD shall be saved."

Revelation 6:6, 8

And I heard a voice in the midst of the four beasts...
And I looked and behold, a pale horse
And his name that sat on him was Death
And Hell followed with him

Construction: Ideas for Shot list

Shot list

1.       Shows Tom walking

2.       Shows him scavenging

3.       Shows him again

4.       Pre-recorded footage

5.       Panoramic shot of a desolate area

6.       Shot of a wall/memorial

7.       Bible quote graffiti on a wall

8.       Shows Tom with Max (dialogue focused)

9.       Shows enclave guy. (dialogue)

10.   Really quick paced, gun fire, someone shouts a name and it goes black.

11.   Shows a POV shot of Tom looking a photo

12.   Extreme long shot of a deserted building

13.   Close up of conversation

14.   Medium shot of conversation

15.   Over the shoulder shot

16.   Running hand held with steady cam

17.   Cuts to medium long shot of building

18.   Zoom into a radio (radio announcement continues into next shot)

19.   Top down shot looking down on Tom walking

20.   Montage of dialogue – medium shot

21.   Close up shot

22.   Medium shot of curb stomp followed by

23.   POV Shot of curb stomp in motion

24.   Crab shot of location with sign showing ‘SOS or survivors’

25.   Tracking shot

26.   Panning shot

27.   Shot of Tom checking corners

28.   Comes round corner

29.   Medium shot of food on counter/table

30.   Quick POV pan from Tom looking at another door as a can being dropped can be heard. (cuts to black)

Title of the film appears

31.   Low angle shot took from behind the door as Tom opens it.

32.   Close up of his reaction (fade to black).
(Alternatively)

33.   Over the shoulder shot high angle (looking at photo/memorial etc) then drops it.

34.   Medium/ long shot of head raising and walking off into distance.

(Bible quote/ dialogue over this)

(alternatively)

35. Darkness, close up of match being lit (then a sound and end trailer or..

36. Long shot of extremely dark room with just the match.

Sound Planning

SOUND

Sound including; soundtrack ideas & influences (any music used must be non-copyright, you need to have references to the composer, track name and website in your blog and you must acknowledge them in your tiles; sound effects; voiceover & dialogue.

Soundtrack

Acoustic: Pearl Jam – Masters of War

Post Rock: Sigur Ros, Helios, Explosions in the Sky, Isis, Album Leaf. Malabar Front or Roots From Needles - If These Trees Could Talk

Copyright Commons: Epic Soul Factory, Nine Inch Nails. Cloudkicker - I'll admit it, I was scared. or #

Other: Red eye by Album Leaf, Behaviour – Shanghai, Johnny Cash – A Man Comes Around/ Ain’t No Grave and God's Gonna Cut You Down.

These choices will allow us to establish a mood and imply a structure in the trailer e.g. at the beginning the music is bleak and paints a miserable picture of the world and the Journalist’s life, but then by the end of the trailer there is hope, and the music changes to a more upbeat sound. The soundtrack will also cut out at certain points so we can hear dialogue, and important scenes etc.

Sound Effects

Perhaps a clip of a nuclear explosion or a nuclear warning system.

Sound effects of Nukes (possibly get them from games)

Child laughter.

Conventions of Post Apocalyptic genres.

Obviously it is imperative for a trailer to show variety in all its aspects such as location, shots and dialogue. We will achieve variety by using a POV shot from the main protagonist’s perspective, perhaps showing him running, an Establishing shot which scans across the environment in a panoramic sort of style and shots of destroyed/desolate buildings, dried up land, craters and forests which could show hope that perhaps life can continue as it once did.

The genre of our film will be a Post-apocalyptic thriller. Some key genre elements that we will employ are large panoramic establishing shots which will reveal desolate and neglected buildings, connoting death, desertion and devastation. We really want there to be an ambience of hopelessness coming from the locations we choose (grim weather is also needed). We will use Non-diegetic lines from the script over different scenes and will mention bible quotes within it as religion can be seen as hope and a light in the darkness. We will involve a nuclear explosion/ cataclysm at some point to allow the audience recognise what genre the film is and know a bit of what has happened in the film.

We have seen through analysis of this genre that costumes and props help bring believable settings and characters to life. To get across to the audience that the protagonist and other characters he meets along the way are living in a destroyed and desolate landscape, we will make them dirty and scruffy; with characters (maybe even the protagonist) having a dishevelled beard and plenty of winter clothing as obviously there will be adverse weather conditions. Other props will include food cans, bin bags and items that would be scavenged and used in a Post-Apocalyptic setting.

Other ways we will establish genre in regards to sound, will be a dissonant Post Rock song that begins melancholic, intermittently fades out for dialogue and then gradually builds tension to a heavy guitar crescendo. Non diegetic and diegetic lines of dialogue can cross over from scene to scene and can be used as slight narrative exposition. Sound effects such as explosions, gun shots and footsteps will also be added to again build tension and stimulate immersion in the films’ world. Regarding actual content of the dialogue, we have seen from many Post-Apocalyptic films and games, that hope is a big factor in a characters’ survival e.g. in The Book of Eli he carries a Bible and an iPod to keep him entertained, and in The Road the Father and son talk about God to keep them motivated to complete their journey. So we plan to use a Bible quote or two that relates to the narrative.

The key point of focus of our trailer will be the locations we use supporting the points of desolation, although we will expose some form of life other than humans which could also show hope and that there is a chance of survival. Another focus of ours is a time elapse of the sky, showing ever-changing weather conditions and environment.

Marketing points for our film will be that it has a bit of everything within it, such as a bit of action, drama, thriller etc. The director has done films such as ‘The Tester’ and ‘Obsession’ so he can bring in an audience due to his name being behind famous thrillers.

The film will first be shown in festivals such as the Sundance festival and the Cannes festival. It will then go to cinemas across the world being a worldwide release, to cut down on pirating. We would also have worldwide premieres to promote the film.

Our target audience for our trailer is most definitely an adult male demographic, due to subjects of violence, war and a detailed narrative. Usually more female orientated films will include romance and humour, as well as a classic ‘Hollywood’ narrative that is simple to follow; we will, however, broaden the appeal by showing variety in locations and scenes, containing action, humour and drama together. The film itself will continue to draw these elements together, as trailers that miss-sell the final product tend to annoy audiences and spoil initial high hopes.

Cast And Costume

Cast

Max- War Veteran who has moved to the blast area to scavenge

Tom- Freelance Journalist (Protagonist)

Kieran- Minor roles such as the News Reporter and Henchman

Curt- Enclave Leader

Costume

Black jeans

Walking boots

Bomber Jacket

War Veteran – Bearded, wearing ripped jeans, bomber jacket, toy rifle (looks like a hunting rifle), woolly hat, walking boots and paintball gloves.

Journalist costume

Kieran's costume for both the
News Reporter and Henchman 

Journalist- Casual style of dress, wearing trainers and contemporary clothing, however at different parts of the trailer he will be dirty and could be in different clothes. e.g. ripped shirt

Computer Hacker- Glasses, dirty patched shirts, a coat, boots, broken laptop in a carrier bag, and backpack full of supplies.

Enclave Officer- Formal attire consisting of a suit jacket, with white shirt, tie, black pants and polished shoes.

Each character has a different dress code, to connote who they are, e.g. protagonist changes from normal contemporary, freelance journalist to a wasteland dweller, looking more ‘beat up’ and filthy, hence connoting he has been there for a while. This gives some subtle narrative exposition as well as establishing the Post-Apocalyptic genre of the film.

Personality and Character

War Veteran- still thinks about his past and doesn’t want to consider what has happened. Believes in conspiracy theories involving the Government and has almost given up on life, and has lost all motivation for it due to his involvement in several conflicts, what he has seen cannot be undone; it haunts him every day.

Journalist- an Intelligent, witty and decisive young man who has not experienced anything like this due to living in a secure period of peace time. He is strong both physically and mentally, he uses this strength to overcome any obstacle. His prudence and sense of adventure can sometimes help, but sometimes hinder, being overly motivated and stubborn with his thinking, these are his fatal flaws.

Computer Hacker- although a control freak who is quite nerdy, his organisational skills, intelligence and dexterity with technology allows him to hack into and control parts of the blast area, he can also utilize exterior networks, giving him access to schematics for weapons and tools, maps of different locations.

Enclave Officer- Will play only a small part in the trailer, acting as the antagonist who seeks to prevent our two heroes from uncovering the truth. He is resourceful, highly dangerous, meticulous and deadly in his planning, using his network of contacts to complete his tasks for him.

The personalities of our characters are, like their costumes, meant to be different from one another to create variety throughout the trailer, they will also have to work together, which creates enigmas for the audience as to how they will do this. They are also, in some cases a bit stereotyped, but this allows easy identification of who they are and how they fit into the plot.

N.B. We have removed the computer hacker from the characters as we only have 1 minute and 30 seconds to get across the main characters and the most important narrative elements, although it is likely he would remain in the full film.

Characters in other Post Apocalyptic films

War Veteran:

Justin Timberlake plays Private Pilot Abilene, an Iraqi War Veteran in Southland Tales, which is a post apocalyptic film. He is mainly used as a narrator. This can be seen to be similar to our character of the War Veteran as he has been made cynical and wiser because of what he has seen.

Journalist:

The journalist was originally by the character of Frank West from the video game Dead Rising. Although the game is Post Apocalyptic, it more focuses on zombies; so obviously we had to change some aspects of the character. In the game he seeks to uncover the truth about the cause of the zombie outbreak, and we thought this was an interesting element to add to the character and the story.

Enclave Leader:

Gary Oldman plays the Villain (Carnegie) who is searching for the prize of the book. We used this for Curt's character as he seeks the prize of stopping Max and Tom from uncovering the truth. Carnegie also controls henchmen who do his dirty work for him; this is where we got the idea for a fight scene between Kieran as the henchman and Max.

As for his personality he is very controlling, harsh and shrewd in his shady business of controlling a town. He is portrayed like this through his dress of his suit connoting power and affluence which the hero does not have. The mis en scene in his office is also important as it further reinforces these qualities as well as his intelligence (as he reads a lot of books) and ruthlessness when it comes to handling his wife and daughter - this all inspired Curt's character and the mis en scene of his office.

Carnegie with some of his henchman. This particular part of the film escalates into a fight scene.

 Dialogue examples

"The accelerated conflict in the Middle East placed significant restrictions on American access to oil. Alternative fuel sources became a lucrative commodity. Americans were transfixed by the terrorist's threat, and were willing to prevent another attack by any means necessary..."

"In the aftermath of nuclear attacks in Texas, America found itself on the brink of anarchy."