YouTube Statistics

VIEWS:

POPULARITY:

Audience Response

“I really liked this opening sequence as it set the tone of a thriller with the use of visual effetcs, unusal shots and soundtrack. I thought the opening tracking shot was really effective and clearly set the context of the genre.”

This supports our original intention to create an effective opening to a horror feature. This comment is also good in the sense that it praises the track and pan, which is the main aspect we were worried about because it is such a complex shot.

“the camera focussing on the fire is effective, i like the link between the church and fire, and the use of the non-digetic orchestral music fits in with the theme.”

The fire, we felt, was the strongest part of the sequence so it is not surprising that this was picked up on as the most effective shots. The comment about the music come somewhat as a relief, as there was a last minute change in music resulting in it being slightly rushed.

“I thought the effects of the fire dissovling the frames and titles was very effective and made a huge impact towards the sequence. The soundtrack linked very well with the theme of the church and helped create an eer y feel towards the seqeuence”

Once more, both the fire and the music are considered the most effective aspects of the sequence. This time the dissolve and colour keying of the fire was picked up on, this was the hardest part of the sequence to edit and it is good to have some recognition of this.

“I really liked the effects of the fire in this opening sequence and it created a tensed atomsphere for the audience the credtis were well put in the opening sequence without interrupting the opening sequence I liked how this media product dealed with the themes of religion”

This comment deals with similar features, with the added remark on how the sequence deals with themes of religion. This is good, as ultimately we are getting the message across to the viewers and they understand what the film is about.

Denotation and Connotation of Final Product

Denotation:

-priest pacing through church
-calm music in the background
-music escalates
-nativity set in flames
-fire
-satanic images

Connotation

The priest pacing through the church and the beginning connotes the calm and saintliness of the church and of christianity, and the calm music accentuates this. The music and the nativity set bursting into flames is a contrast to this and connoyes the destruction of a dominant western religion. The flames are an image associated with danger and death and therefore are one of the most powerfull images in the product. The statanic images connote Devil worship and Satanism which always strikes fear in to the hearts of god fearing people and even those who do not believe in God and the Devil. Satan is a prime symbol of evil, death, fear and everything else bad.

Evaluation

IN WHAT WAY DOES YOU’RE PRODUCT USE, DEVELOP OR CHALLENGE FORMS AND CONVENTIONS OF REAL MEDIA PRODUCTS?

Our media product: Revelations 2009 directed by Millie Driver is a 2 minute opening sequence to a 90 minute independent feature film in the genre of horror. It follows classic horror themes such as Satanism, the establishment of cults, and the possibility of the birth of the anti-Christ. The sequence involves a priest pacing slowly down the front of a church as a nun sings ‘Silent Night.’ He passes in front of a wooden nativity set which subsequently bursts into flame spontaneously. This is followed by a title sequence in which we see close ups of the burning nativity figures, satanic imagery and defaced pictures of the protagonist. While this is happening the lyrics of silent night become twisted and satanic referencing the birth of Satan’s child and the end of the world.
This opening leads to a narrative that a young women moves to a small community, wary of outsiders. Following this there is a series of inexplicable, supernatural events leading to a climax of overt Satanism, insanity and apocalyptic circumstances.
Our opening sequence follows principle horror conventions such as: isolated locations, inanimate objects possessed with strange forces, devil worship and satanic abuse, fear and political commentary. We used two isolated locations; a church and a cellar. This causes a feeling of seclusion helplessness, and claustrophobia within the audience and, although this isn’t a terrifying prospect, it makes the demographic feel slightly uncomfortable using phobia generation which is what we are aiming to do with this subtle style of psychological horror. The notion of inanimate objects which are beyond the control of humans has a similar effect. We use this to our advantage by making a nativity set seemingly combust spontaneously; the flames also keep the audience on the edge as it is an image associated with danger and death. Devil worship and Satanism always strikes terror in to the hearts of god fearing people and even those who do not believe in God and the Devil. Satan is the prime symbol of evil, death, fear and everything else bad and is therefore one of he strongest horror conventions around. Our product is centred predominantly around the idea of the return of Satan to earth in the form of the anti-Christ. We use political commentary to our advantage by showing Satanism replacing a dominant religion to emphasise the importance of religion within our culture. We achieve this by starting our sequence in a Christian church and gradually symbolise the uprising of Satanism in the church.
We took inspiration from a few films which helped us achieve our final product, these include: The Wicker Man 1973 (directed by Robin Hardy) which influenced a great deal of the shots with fire, religious iconography and also the overall narrative. Although there are similarities within the two narratives we see Revelations more as homage to ‘The Wicker Man’ rather than duplication because we wanted to refer back to the original representation cults and British mythology shown in the original and not the 2006 remake. In the shots from the cellar we were influenced by films like ‘The Descent’ 2005 (directed by Neil Marshall), which centre on claustrophobia, and ‘Steven King’s IT’ 1990 (directed by Tommy Lee Wallace) which is all about using people’s phobias to your advantage. More obviously, we drew from ‘The Omen’ 1976/2006 (directed by Richard Donner/ John Moore) seeing as our film is predominantly about the anti-Christ.

HOW DOES YOUR MEDIA PRODUCT REPRESENT SOCIAL GROUPS

The social groups our product represents include middle aged/old, white European men and women. In terms of class, the location for our product operates outside a traditional class system in which a hierarchy operates where religion is all powerful and a priest is a representation of that.
We represented these social groups through dress, tone of voice, behavior and movement, and appearance. We dressed both characters fairly ambiguously, they were in all black, and this conveyed a lack of class system and made everyone seem more equal. Also the outfits were clearly recognizable as catholic garments which set the tone and gave an impression of the character. In the ‘voice over’ of silent night the tone of voice is very innocent, and it is also a women’s voice which ties in with the ideology of female victims. Like the film, the song starts innocently, as a well known Christmas hymn, but this is contradicted by the lyrics of the second and third verse which become much darker and reference events of relentless evil. This creates a paradox which can make the demographic feel perturbed. In terms of movement and behavior, we set the pace fairly slow at the beginning with the priest walking down the aisle of the church but then create a contrast with the rapid ignition of the nativity set and the energetic movement of the flames. This causes a juxtaposition within the images which uses tension and release to create an effective piece of horror. The appearance of the priest was initially intended to be older, but since we were unable to secure a mature actor, we had to film him in long shots so as not to emphasize his youth.
Although the priest appears on the surface to be a stereotype, we challenge this by making him a priest of Satan and an embodiment of evil. In contrast to the way we shot the priest, in long and wide shots, we shot the nativity figures in extreme close up to emphasis the importance of the figures. We wanted to make a clear statement to the audience about the destruction of Christianity by making the figures clearly recognizable. In order the further challenge the representation of the priest we talked about stressing the fact that he was evil by having shots of him in traditional garments but holding a severed goats head drenched in blood on a silver plate. Unfortunately health and safety restrictions prevented us from doing this.

WHAT KIND OF MEDIA INSTITUTION MIGHT DISTRIBUTE YOUR MEDIA PRODUCT AND WHY?

Our media product is an independent, low budget feature and is likely to be distributed by institutions like ‘Arrow Films’, ‘Hammer Films’ or ‘Axiom Films’. The reasons for this categorization include the fact that we had an unknown cast, low budget sets/established locations, no distribution deal, and expertise was all done within the production company - except the soundtrack. In order to bring our product into a different category, we could bring in more outside expertise such as stunt coordinators, guest directors, and film crews amongst others. We could also create more elaborate and expensive sets and bring in some nig name actors. This would take the product into the category of high budget independent feature due to increased budget.
It is most likely that the UK would be the most appropriate market for our product seeing as it is an English language film; it is centered on the collapse of a western religion, and the fact that there is a secularization of society and the sense that institutional religion is seen as being undercut in our film. The US would not be an appropriate market due to the fact that some states are overly religious and may take extreme offence after watching our feature. The institution which would be most suitable for distributing our film is ‘Hammer Films’, a British production company known for its low-budget, gothic horror feature films.


WHO WOULD BE THE AUDIENCE FOR YOUR MEDIA PRODUCT?

Our media product would be a certificate 15 film due to the probability of frequent, strong language, violence and the use of strong threat and menace. Our film would apply mainly to demographic C2 and above primarily because it is a more psychological and subtle style of horror, rather than a blunt, gory zombie or slasher film. The nest time of year to release this film would be the 6th July to tie in with the satanic themes; ideally we would release it in the year 2016 or any other year with a six in it. To carry on the theme of 666, we would release it on DVD six months after it came out at the cinema. Since it is a low budget feature, it will have a very limited run at the cinema so leaving it any longer to release on DVD would be pointless.
I would think our product, if released and if successful, would make between £500,000 and £1,000,000 revenue. The reasons for this include the fact that it has low distribution costs, which means limited advertising and therefore limited awareness. Also low budget films are never expected to make a killing at the box office.


HOW DID YOU ATTRACT/ADDRESS YOUR AUDIENCE?

In terms of standard marketing, through an advertising company, we could work on teaser campaigns which highlight a certain character/symbol from our film which becomes more and more prominent as the release date nears. We would make trailers and posters to promote the product and develop slogans and images/logos that people will associate with the film. A more suitable method of promotion for our product would be viral marketing because it is extremely cheap and potentially more effective than standard marketing. We could set up websites based around principle characters, which give more and more information about the character as more people subscribe to the website. Also we could organize flash mobs along the themes of our product, although acts of overt Satanism in public places may cause offence. We could obtain local coverage by, for example, placing a severed goats head in the middle of the road in the same place, at the same time every week. Despite potentially being illegal, this would get exposure from local news channels and therefore raise awareness of the film.

WHAT HAVE YOU LEARNT ABOUT MEDIA TECHNOLOGIES FROM THE PROCESS OF CONSTRUCTING YOUR PRODUCT?

On our media shoot we used a JVC camera. When using this, I learnt to focus the camera, alter the white balance and change the exposure to obtain a professional looking shot. I also leant about the rule of thirds, and other techniques which helped me construct an effective mise en scene. When filming in the church we used a spider track and dolly, when using this I learned the importance of making sure the track is straight and how the tiniest kink in the track can have a dramatic effect on the final shot.
When it came to editing our product, we used ‘Final Cut Pro’, a professional editing software application from Apple Inc. We learnt how to construct bin and log film to group shots into appropriate divisions. We used the drag and drop facility to add various clips to the time line and used the razor tool to cut and edit the clips so they fitted together in a coherent, chronological order. After we had the final cut of our product we started to add effects and transitions. The main transitions we used were ‘cross dissolve’ and ‘fade in fade out dissolve’. To add effects we use a ‘bloom’ effect to change the colour contrast and brightness of the images which gave us the effective flash of fire across the screen in the title sequence. We also used the ‘Colour Key’ tool to impose images behind the flames.
For the soundtrack we listened to some un-copyrighted sound/songs on various DVDs and picked two songs and a fireball sound effect which worked well with our product, we then added them to our product on Final Cut Pro. Although this wasn’t our original idea for soundtrack, it is still effective.
As a result of all this practice I now feel very confident when using Final Cut Pro and feel I could, and would want to, happily edit a longer more complicated piece of film.

LOOKING BACK AT YOUR PRELIMINARY TASK, WHAT DO YOU FEEL YOU HAVE LEARNT ABOUT THE PROGRESSION FROM IT TO THE FINISHED PRODUCT?

Since my preliminary task, I have learnt about the importance of organization when making a film. We spent a great deal of time trying to secure locations, writing risk assessments, obtaining actors and providing various contracts. Although this was, at times, very arduous, I did enjoy it and it made me consider a career in film production. Research also proved very useful, before starting work on our product I watched a great deal of classic horror films and read interviews with director ect. and this was very helpful when it came to analyzing what made a horror film scary and how to exploit fear. As a result of all this research I found it easier to write the script and I managed to produce, in my opinion, a good quality script. We learnt how to storyboard and how helpful this was when we came to filming, as it gave us a clear indication of the exact shots we needed.
We learnt importance of company formation and how imperative it was that we kept a good working relationship with the other people in the production company to minimize conflict and disagreements. On the shoot day I felt I achieved a lot as an individual. I helped set up the lighting and learnt about three-point lighting. I also operated the camera for the tracking and panning shot.
In terms of editing, my contribution was more than substantial. I managed to put together most of the final cut as well as add a lot of the effects and credits. I learnt how important it is to work as a team, unfortunately I learnt this the hard way. Just days from the final deadline, we were let down by a member of our team who had failed their task of recording the soundtrack. We had to completely re-do the music and it wasn’t as effective as it could have potentially been.
If I went back and did this again I would do a number of things differently. I would take more time planning and make sure everything was completely ready before filming to reduce the risk of mistakes/problems. I would also spend more time editing because I think our final product had the potential to flow better, I would have liked to go back and just smooth out a few glitches. Finally, I would have devised a way to make sure each group member was pulling their weight and achieving everything they were tasked with.
This opportunity has really given me an insight into the world of film and has made me feel even more enthusiastic about pursuing a career in media.

Editing

When editing our title sequence we used a program called 'Final Cut Pro.' This is a professional editing software application from Apple Inc. It is only available for Mac OS X version 10.4 or later, and is a component of the Final Cut Studio product. ‘Final Cut Pro’ logs and captures video onto a hard drive (internal or external), where it can be edited and processed.

When it came to editing our product, we used ‘Final Cut Pro’, a professional editing software application from Apple Inc. We learnt how to construct bin and log film to group shots into appropriate divisions. We used the drag and drop facility to add various clips to the time line and used the razor tool to cut and edit the clips so they fitted together in a coherent, chronological order. As well as using Final Cut Pro just to get our final cut of the opening sequence, we also did all our after effects and transitions in Final Cut Pro . The main transitions we used were ‘cross dissolve’ and ‘fade in fade out dissolve’. To add effects we use a ‘bloom’ effect to change the colour contrast and brightness of the images which gave us the effective flash of fire across the screen in the title sequence. We also used the ‘Colour Key’ tool to impose images behind the flames. We also did our credits sequence in Final Cut Pro using the text tool.

Shoot Day 1

First Location: Holmbury St. Mary Church


Work Done -

1.1 Met at edit suite to load equipment and discuss schedule.

1.2 Arrived at church and began to set up track and lighting.

1.3 Rehearsed tracking and panning with actors.

1.4 Started filming.

1.5 After getting a good take, we proceeded to get various stills of different parts of the church for our title sequence.

1.6 Packed up equipment and went back to school in time for lunch.


Problems -

2.1 Track took longer than expected to straighten out.

2.2 It was difficult to conceal the lighting for the panning shot.

2.3 Not enough lights.

2.4 Organ was inconveniently placed so we couldn't use it.


Evaluation -

3.1 We had to be flexible with our shooting schedule due to the track taking a long time to set up. But, luckily, other jobs took much less time than expected so we were able to stay ahead of schedule.

3.2 We had to spend a long time moving lights and rehearsing the shot to make sure none came into view. Although this was a fairly arduous process we eventually got them in the appropriate position and were able to get a good take, free of visible equipment.

3.3 We had to return to school at one point to pick up more lights because we didn’t have enough. Fortunately, at this point we were ahead of schedule so it didn’t affect us in terms of time.

3.4 We had to adapt to the space we were working in by moving a piano into the center of the room. We then put tall candles on either side of it to make into blend into the surroundings more.

Second Location: Hurtwood House Theatre


Work Done -

1.1 Set fire to a wooden figure to test how well it burnt.

1.2 Set up a safe environment with buckets of water and a fire extinguisher.

1.3 Set up lights, camera and nativity set.

1.4 Doused nativity in lighter fluid.

1.5 Started filming whole set burning.

1.6 Cleaned up then set up again with individual figured.

1.7 Filmed individual figures burning.

1.8 Cleaned up and safely and responsibly disposed of the burnt nativity set.

Problems -

2.1 Nativity set wasn't as detailed as we had expected/requested and didn't look as effective in a wide shot. It lacked any detail, had no use of colour and was almost two dimensional.

2.2 Some of the nativity figures contained unintentional phallic symbols.

2.3 Some figures had been painted with fire-retardant paint. Even without the fire-retardant paint, the figures were extremely hard to light.


Evaluation -

3.1 When the figures we alight they looked a lot more effective than first anticipated. We also used various effects in 'Final Cut Pro' to make them look better.

3.2 Initially we saw this as a big problem but after some thought we felt that this maybe added to the satanic style of the piece. Although it wasn't extremely evident, we felt that the audience would probably pick up on it, even subconsciously, and it would make them feel uneasy which is exactly what we're aiming to do.

3.3 To counter the fire-retardant painted we soaked the figures in lighter fluid and surrounded them with wood chippings which burned extremely well.

Third Location: Hurtwood House Basement

Work Done -

1.1 Evaluated space and decided how many people/how much equipment we could take down.

1.2 Carried down equipment i.e props, camera, tripod, 1 red head with gel.

1.3 Set up table with satanic images, blood and candle.

1.4 Took several, ten second, static shots of different images.

1.5 Switched satanic images with damaged photos of protagonist

1.6 Took several, ten second, static shots of different images.

Problems -

2.1 There was barely enough room for the equipment/people we needed down there

2.2 There was a large pool of oil giving off strong fumes down there.

2.3 Only one access point.

Evaluation -

3.1 We could only have a maximum of 3 people down there at one time and only had enough room for the cammera, tripod and one light. This, however, proved to be sufficient and we left with some really good shots.

3.2 We had to take frequent breaks because the fumes were giving us headaches. This wasn't too much of an issue because by this time we were hours ahead of schedule and could afford to be quite liberal with time.

3.4 This was quite a high risk because if we had needed to get someone out of the room in an emergency there was only one exit and that was a steep, narrow, spiral staircase.

My Role In Our Production Company

My role on the shoot day was as the assistant director and creative artist. My contribution to the production pack included writing up the contracts, shooting schedule and risk assessment and designing the company logo:

I also secured one of the locations:

and wrote the script for our production:

REVELATION


INT. ORNATE CHURCH – WINTERS EVENING, EARLY DECEMBER

An organ fills the church with the well known Christmas hymn: ‘Silent Night.’
VO:

Silent night, holy night

All is calm, all is bright

Round yon Virgin Mother and Child

Holy Infant so tender and mild

Sleep in heavenly peace

Sleep in heavenly peace

Silent night, holy night

Son of Tyrus, fear's pure light

Radiant beams from Thy holy face

With the dawn of condemning grace

Abbadon Lord, at Thy birth

Abbadon Lord, at Thy birth

Silent night, holy night!

Shepherds quake at the sight

Glories stream from hell afar

Hosts of Hades sing Alleluia!

The Anti-Christ is born

The Anti-Christ is born

The church is beautiful with numerous stained glass windows and sculptures. It is essentially Christian. The interior is covered with crucifixes and nativity style objects such as shepherds staves and a manger. There is an old woman at the back of the church playing the organ and singing.

We follow a priest who calmly paces down the church swaying incense from side to side. He is wearing robes and his face remains hidden. He crosses in front of a stained glass window drawing our attention to a wooden nativity set resting on a table which spontaneously bursts into flame.

CUT TO:

INT. DARK BASEMENT – WINTER’S EVENING, EARLY DECEMBER

Extreme close up of lots of photographs of Mary, the main protagonist, with her family and on her own. She looks very happy in all of them. Blood drips onto the table next to the pictures.

CUT TO:

INT. ORNATE CHURCH – WINTERS EVENING, EARLY DECEMBER

The flaming nativity set continues to burn as the figures in it become horribly disfigured beyond recognition.

CUT TO:

INT. DARK BASEMENT – WINTER’S EVENING, EARLY DECEMBER

Extreme close up of satanic images (both photograph and parchment) on a desk. Blood drips onto the table next to the pictures.

CUT TO:

INT. ORNATE CHURCH – WINTERS EVENING, EARLY DECEMBER


Extreme close up of Baby Jesus from the nativity set, who has almost completely turned to ash.

CUT TO:

Fade in text

Revelation

During the day of filming I helped with lighting and operated the camera for part of the day. I felt that through doing these jobs I contributed to the group’s effort well. Both Oli and Millie, the two other members of my production group both worked very hard as Producer and Director and we all performed excellently as a team. As a result of this we managed to acquire all the shots we needed and more far earlier than initially expected.
The tracking shot could have been made better by a few more takes. This became apparent when we watched back our footage and realised that in each take we had either the track jolted slightly or a light became visible. Despite this using various methods in 'Final Cut Pro' we managed to salvage the shot and it ended up looking very effective. The shot which ended up looking the best was probably the Nativity set spontaneously bursting into flame. This was a lot easier to do than expected and looked very effective on camera.

In relation to what I learnt about practical film making, I found out how important lighting is in a shot, it can completely change the mood of a particular setting; we used three-point lighting in our scene. As part of this we discovered the challenges of lighting a scene with relation to space for lights ect. I also learnt that you need to have a lot of patience when filming as some shots take a considerably long time to get. I learnt about how tough casting can be, especially when cost is a constraint; when we were casting we found it very hard to obtain an elderly actor willing to act in our film. When filming in the basement we found space to be a big constraint, especially when we had to take the equipment town a very narrow spiral staircase. As a result of this we learnt to adapt as a team based on the various constraints. For example after we light the church, when doing the tracking/panning shot, alot of the lights were still in view so we had to change the speed and time of the pan to conceal them

Script For My Horror Film (Opening Sequence)

The Babysitter

EXT. LARGE MANOR HOUSE IN THE SURREY COUNTRYSIDE - ABOUT 6:00AM ON A BITTERLY COLD DAY IN JUNE

A large house can be seen in the distance across a vast garden with a large lake and many flower beds and bushes all kept in excellent condition. The only sounds that can be heard are the light breeze and the sound of a shovel scraping in and out of frozen soil. As the camera pans, the source of this sound becomes apparent; a man in his mid thirties is filling in a hole in one of the flower beds. As we come closer to the man we become aware of the bitter cold as his breath is clearly visible.

CUT TO:

EXT. LARGE MANOR HOUSE IN THE SURREY COUNTRYSIDE - ABOUT 6:00AM ON A BITTERLY COLD DAY IN JUNE

Mid shot of the man wiping his brow. He has clearly been working hard for a considerable amount of time.

CUT TO:

EXT. LARGE MANOR HOUSE IN THE SURREY COUNTRYSIDE - ABOUT 6:00AM ON A BITTERLY COLD DAY IN JUNE

Extreme close up of the flower bed where the man has been digging. A hand can be seen protruding from the flower bed.

CUT TO:



Fade in Text
The Babysitter

CUT TO:

INT. DARK BASEMENT – LATE NIGHT

A large table covered in various torture implements

CUT TO:

Titles

CUT TO:

INT. DARK BASEMENT – LATE NIGHT

Blood drips onto the basement floor. Muffled screams can be heard.

CUT TO:

Titles

CUT TO:

INT. DARK BASEMENT – LATE NIGHT

There is a wasted figure of a teenage girl shaking and crying in the corner. She is chained to the wall.

CUT TO:

Titles

CUT TO:

INT. DARK BASEMENT – LATE NIGHT

What appears to be a child walks into view with its back to us. He innocently toddles over to the terrified girl in the corner of the room; he is holding a small hatchet.

CUT TO:

Titles
As the final title fades out, a loud shrill scream can be heard.

Treatment For My Horror Film

Treatment – The Babysitter


Act 1

1. Establishing crane shot of a large manor house. Camera pans around to the garden of the house. The scene in underscored with ominous music.


2. Cut to a middle aged man filling in a hole in a large flower bed. He is visibly tired. He reaches into his pocket and takes out a handkerchief with which he mops his brow. Cut to an ECU of the flower bed from which the hand of a dead body is protruding.

3. Cut to black background with the title ‘The Babysitter’

4. Montage of horrific images, for example teenage girls be brutally murdered, flashes of a creepy looking child and people disposing of bodies. The final image of the montage is a newspaper article about a teenage girl missing. The page turns and there is an advertisement for a babysitting job.


Act 2



1. Protagonist is in a café with a friend they are two pretty girls in their late teens (between 16 and 19) looking for summer jobs in the newspaper. They have spotted the babysitting advertisement and decide to apply.


2. Interview sequence (in the style of ‘Shallow Grave’). POV shots from the parents. The protagonist gets the job. Last line of the sequence makes a reference to the child being somewhat eccentric.


3. Establishing sequence of child. Camera tracks forward to the child sitting with his back to the camera; he is singing nursery rhymes. The child turns round as the music reaches its climax and we see his chalk white face and sunken eyes. Blood starts to pour from his eyes.


4. The Protagonist arrives for her job and is greeted at the door by the parents. She is shown around the house and taken to the boy’s room to meet him; he has his back to them and demands to be left alone.



Act 3

1. Protagonist is watching TV; child has gone to bed by this point. It is just like an average babysitting job.

2. Protagonist gets a phone call, but the person on the other end just breathes heavily down the phone. She thinks it is a prank so hangs up. She receives the call a few more times before becoming worried. She phones the operator to ask them to trace the next call. After the next call, the operator warns her that the call is coming from an upstairs room in the house.

3. Protagonist goes upstairs to investigate and is attacked by the child. After a lot of conflict (hide and seek – similar to ‘The Orphanage’) the babysitter manages to escape, barely alive.

4. Two years later we see the protagonist go for another babysitting job. She is shown around the house and is taken into the child’s room where she realises it is the same child that tried to kill her; he turns around and smiles at her. She screams. Cut to black.

Research - George A. Romero Interview

George Romero and "Land of the Dead:" Romero returns to the genre he's credited with creating with "Land of the Dead," his latest venture into the world of zombies. It's been 20 years since Romero stepped behind the camera to direct a zombie movie and fans are eagerly anticipating this new film, which may or may not be his last zombie movie (depending on who you talk to and on what day of the week you speak to them).
In "Land of the Dead," the last humans on earth live inside a fortified city. On the other side of the city's walls, the walking dead roam around looking for a way in. As the social structure inside the city begins to crumble, the zombies outside have started to evolve into an army of flesh-eating killers.

George Romero on the 20 Year Break between Zombie Movies: "Well, it hasn’t taken me so long. It’s taken the world too long to say, 'Hey, let’s do another one.' I did the first one of these in the 60s and then I did one in the 70s and one in the 80s. I missed the 90s because we were tied up in development deals and, you know, I just basically missed it.
Then I wrote the first draft of this film right before 9/11. Literally I sent it out to studios three days before 9/11. That’s a true story. Everybody then wanted to make friendly little lollipop movies, so I had to stick it on the shelf for a while. Then after the invasion, I took it off the shelf and I said, 'Gee, this is even more interesting now!' To make it sort of address this new normal… So I was a little fast and loose with some of the referencing, you know the 9/11 / post-911 stuff in it. But I think it makes it a little stronger.
It’s about walking that line. You have to do the surface, which is the ride, and then underneath you try to lay in some of your observations. Not necessarily criticisms… I mean, I took some jabs at the administration here which are clearly criticisms. But most of it is more an observation. I have this conceit that the films reflect the times when they were made, stylistically as well as the social commentary."

On Creating Zombie Movies That Stand the Test of Time: "Well, I hope so. You know they stand up because they’re fun rides on the top, I hope. So that’s what I’m trying to do with these."

George Romero on Our Fascination with Zombies: "Boy, I don’t know. I don’t think it’s anything in particular. Zombies have become – not only because of movies but because of video games like Resident Evil and so forth - it’s become sort of the pop culture. It’s an easily identifiable monster. You say 'vampire,' you know what to expect. You say 'zombie,' you know what to expect. You don’t' have to have a scientist in the story explaining, 'Well, here’s what’s happening...' I think it’s just become idiomatic."


Romero's Zombies Evolve in "Land of the Dead:" "If you look at my other films, it begins at the end of 'Dawn.' The zombie drags a gun around for the whole movie and then at the very end grabs the hero’s gun and decides that’s better. He doesn’t even know it’s a gun. Then in 'Day of the Dead' there’s a zombie named Bub who actually shots the villain in the end. He’s this very sympathetic guy. It’s sort of following the same track. Now in this film when Big Daddy does it, there’s other zombies that come around and imitate the behaviour. So all of a sudden, ooops, there’s a bunch of them out there."

On Losing the Rights to "Night of the Living Dead:" "Night of the Living Dead" is now in the public domain and Romero's not happy about that. "Our title was 'Night of the Flesh Eaters.' We were just a bunch of young guys who made the movie and stuck it in the trunk of our car and drove it to New York to see if anybody wanted to show it. And we put the copyright right on the title card, so when the distributor changed the title to 'Night of the Living Dead,' they just never thought about it. So when the copyright thing came off, it became a public film."
Because of One Little Thing Romero Lost the Rights to "Night of the Living Dead: "Yes, basically. We’re still fighting it and there’s a chance we’ll get it back. A silly thing like that so… My advice to young filmmakers: Get a lawyer!"

Romero on why After "Night of the Living Dead" ‘Living’ was dropped from the Titles: "I know. It’s not me, no. I don’t know. There was no reason for that. It just happened that way."
Romero on Creating "Night of the Living Dead: Romero admits attending premieres for "Land of the Dead" is a totally different experience from his other zombie movies.”Land of the Dead" is the first of his zombie films to have a major studio - and all the publicity and hoopla associated with a big studio - backing its theatrical release. Romero recalls, "When we were making 'Night of the Living Dead' we thought it was going to be playing in a few drive-in theatres and maybe return our investment. And maybe if it did that, we’d be able to make something else. That’s really as far as it went."

(SOURCE UNKNOWN)

Research - Top 10 Horror Films

TOP 10 HORROR FILMS

10. Ringu

After the death of her cousin Tomoko, reporter Reiko hears stories of a videotape that kills everyone who sees it exactly one week after viewing. At first she discounts the rumors, but when she learns that Tomoko’s friend (who watched the video with her) died at exactly the same time, she begins to investigate. After viewing the tape herself, strange things start happening, and so she teams up with her ex-husband to try to stop the death clock that has once again begun ticking.

9. Jaws

A Great White Shark decides to make the small beach resort town of Amity his private feeding grounds. This greatly frustrates the town police chief who wants to close the beaches to chase the shark away. He is thwarted in his efforts by the town’s mayor who finally relents when nothing else seems to work and the chief, a scientist, and an old fisherman with revenge on his mind take to the sea to kill the beast.

8. Poltergeist

While living an an average family house in a pleasant neighborhood, the youngest daughter of the Freeling family, Carol Anne (Heather O’Rourke), seems to be connecting with the supernatural through a dead channel on the televison. It is not for long when the mysterious beings enter the house’s walls. At first seeming like harmless ghosts, they play tricks and amuse the family, but they take a nasty turn- they horrify the family to death with angry trees and murderous dolls, and finally abduct Carol Anne into her bedroom closet, which seems like the entrance to the other side

7. The Texas Chainsaw Massacre

En route to visit their grandfather’s grave (which has apparently been ritualistically desecrated), five teenagers drive past a slaughterhouse, pick up (and quickly drop) a sinister hitch-hiker, eat some delicious home-cured meat at a roadside gas station, before ending up at the old family home… where they’re plunged into a never-ending nightmare as they meet a family of cannibals who more than make up in power tools what they lack in social skills…

6. Carrie

Carrie White is a shy young girl who doesn’t make friends easily. After her class mates taunt her about her horrified reaction to her totally unexpected first period one of them takes pity on her and gets Tommy Ross, her boyfriend and class hunk to invite Carrie to the senior prom. Meanwhile another girl who has been banned from the prom for her continued aggressive behaviour is not as forgiving and plans a trick to embarrass Carrie in front of the whole school. What she doesn’t realise is that Carrie is … gifted, and you really don’t want to get her angry.

5. Les Diaboliques

he wife and mistress of a sadistic boarding school headmaster plot to kill him. They drown him in the bathtub and dump the body in the school’s filthy swimming pool… but when the pool is drained, the body has disappeared - and subsequent reported sightings of the headmaster slowly drive his ‘killers’ (and the audience) up the wall with almost unbearable suspense…

4. Rosemary’s Baby

Rosemary and Guy Woodhouse move into an apartment in a building with a bad reputation. They discover that their neighbours are a very friendly elderly couple named Roman and Minnie Castevet, and Guy begins to spend a lot of time with them. Strange things start to happen: a woman Rosemary meets in the washroom dies a mysterious death, Rosemary has strange dreams and hears strange noises and Guy becomes remote and distant. Then Rosemary falls pregnant and begins to suspect that her neighbours have special plans for her child.

3. Psycho

Marion Crane is a Phoenix, Arizona working girl fed up with having to sneak away during lunch breaks to meet her lover, Sam Loomis, who cannot get married because most of his money goes towards alimony. One Friday, Marion’s employer asks her to take $40,000 in cash to a local bank for deposit. Desperate to make a change in her life, she impulsively leaves town with the money, determined to start a new life with Sam in California. As night falls and a torrential rain obscures the road ahead of her, Marion turns off the main highway. Exhausted from the long drive and the stress of her criminal act, she decides to spend the night at the desolate Bates Motel. The motel is run by Norman Bates, a peculiar young man dominated by his invalid mother. After Norman fixes her a light dinner, Marion goes back to her room for a shower…

2. The Exorcist

Blatty’s novelization of a real case of possession that happened in a Washington Suburb (Mt. Ranier, MD) puts Regan, an adolescent girl, Living with her mother in Georgetown in Washington, into a more and more difficult situation. She exhibits strange symptoms, including levitation and great strength. When all medical possibilities are exhausted, her mother is sent to a priest who is also a psychiatrist. He becomes convinced that Regan is possessed and he and a second priest experienced in exorcism try to drive the spirit from Regan before she dies. Very graphic for its time.

1. The Shining

Jack Torrance becomes the caretaker of the Overlook Hotel up in the secluded mountains of Colorado. Jack, being a family man, takes his wife and son to the hotel to keep him company throughout the long and isolated nights. During their stay strange things occur when Jack’s son Danny sees gruesome images powered by a force called “The Shining” and Jack is heavily affected by this. Along with writer’s block and the demons of the hotel haunting him Jack has a complete mental breakdown and the situation takes a sinister turn for the worse.


(http://listverse.com/entertainment/top-10-horror-movies/)