Print Brief

The BFI Film Festival follows most of conventions of magazine covers. The use of the title of publication, which is placed near the centre of the cover, is very important as it is easily visible, particularly when stacked with other magazines in limited shelf space. The way the title has a different font and colour makes the magazine easily visible and distinctive. Additionally, the typical typeface becomes established which means that the magazine’s logo can be edited in the way the editor views the title. Due to the title being well known, it can be modified and can be understood easily .There isn't any use of a slogan. This is perhaps due to the fact that it has different editions with a serious outlook. The use of slogan may not be in the desires of BFI. The peculiar use of the central image being the text for the title. This is to enhance the attention and captivate the viewers attention and also bringing more attentions towards their brands. The use of  a ‘Flash’ or a 'Cover Line' is not visible as I believe the main reason why there is not this convention is there is not a necessity to employ this technique. This goes with the free offer as well as it is not necessary for an art house magazine. Also, mainstream magazines sometimes come with small gifts or product ‘promotions’ attached to attract more viewers. The BFI magazine  To be effective, these gifts or offers need to be closely targeted at the magazine’s core consumers.Another convention that is regarded as important is the colour scheme. In order to avoid a cover becoming too ‘overcrowded’ with colour and therefore difficult to ‘decode’, designers tend to stick to a limited colour scheme. However there is still a use of extravagance with the title to make the title stand out for the readers. The colours are generally limited but it feels that it works well together and provides a particular ‘attraction’ towards the magazine.



Brochures Research

The most appealing aspect that I believe that stands out for me is the colour scheme. Although the colours are bland and not vibrant, it follows a simple scheme which shows off its professionalism. This is important especially with my proposed print work as it should have a connection with art house conventions. Therefore, having a structured colour scheme is important with the attraction of brochures.

I believe the most engaging aspect about this brochures is that the size of the fonts stands out for me. It provides a sense of professional expertise which is important with a brochure. This is significant especially with my proposed print work as it follows with art house conventions. The font should be necessary with the overall meaning of the brochure. It should follow the appeal of the reader and what the editor wants to stand out. Therefore, having a structured use of fonts is consequential with the attraction of readers.

I believe the most attracting feature about this brochures is that the placements of images and text which stands out for me. This might influence me to use images inside the designated areas rather than keeping it plain or with a structured images policy. Also, the thing that I could use is the consistent use of graphical shapes and designs. It should follow the appeal of the reader as they are reading the brochure and also how the editor wants to stand out. Consequently, having a attractive layout is important with the diversion of readers from reality.

I like the interesting use of the layout and the placements of images. This can influence the reader as they can see the professionalism of the brochure. Also, the thing that I could use is the consistent use of graphical shapes and designs. This is important especially with my proposed print work as it should have a connection with art house conventions.

The most appealing aspect that I believe that stands out for me is the colour scheme. The colours are vibrant which is important with the attraction of readers. It also follows a simple scheme which shows off its professionalism. This is important especially with my proposed print work as it should have a connection with art house conventions. 

Contents Research

This contents page uses an interesting use of contents page and the way it is placed; the pages being symbolic of the mph readings in a car. It is displayed in a unique way which is important especially when a company

One thing that I will definitely take into consideration is the use of the 3 step rule. This contents page delivers a great example of both what I want to create (in terms of structure), as well as aesthetics. This cover page really delivers on the portrayal and use of the three step rule (the division of the page into three). This contents page can help me identify how to structure the contents page such as, where to place the pictures/images or text.

 Although we are required to use images in our contents pages, what this shows is that the lack of colour can also be used to provide a professional outlook; almost as if they are codes in relation to different sections there are in the magazine. It brings out a professional look which is important.

This contents page has a interesting layout which I find appealing; the images and text are displayed in a alluring manner. This provides an experienced outlook which is important especially towards the editor.

This film brochure has a running theme present on the pages. I like the way that the theme of wheels and colour patterns are consistent to the cover page. Moreover, the use of having the writing structured in the way it is conveyed in the image above is a very nice representation of the way I may like to use for my own programme.








Planning and sketching

Create a spider diagram or bullet point list of all the things your target audience might be interested in.

2) Produce an A5 sketch of your front cover including the key conventions and design tricks you have studied in existing programmes and then planned in planning task 1 above.

3) Produce an A4 sketch of your double-page spread contents page. In terms of the text for your contents page, you will need to find out the names of the films of other groups in your class. The other films in the class will make up the rest of your contents page.

4) Create a spider diagram or bullet point list of ideas for your double-page spread feature. Write a list of potential headlines and sub-headings for the article you choose to go with.

5) Produce an A4 landscape sketch of your double page spread design now you have chosen the subject matter.



Photoshoot

1) Which of your main characters will appear on the front cover of your programme?
Hitik (Forbes), Abdullah (Banks), Hussein (Brute)

2) What image or images do you need for the contents page?
We will need images of a gun, the three actors and a location such as the office.

3) What image or images will you use for the double-page spread?
Our group will mainly use the image of the three actors as they are the most prominent characters in the movie. We will all be in the costume we are wearing for the actual shoot, Hussein and I will be in suits and Abdullah will be in a dressed down blazer.

4) Write a shot list for the photoshoot. Make sure you plan a variety of camera shots you will look to capture - medium shots, close-ups etc.

Brute	All Characters	Forbes and Banks
Medium close up - focus on facial expression	Medium Shot – Brute positioned in front of the characters	Medium Shot –both positioned beside each other
Medium Close up - holding a gun	Medium Shot – Brute positioned behind the characters
Medium Shot - Focus on the attire of the criminal

5) What costume, props or make-up will you require for the photoshoot?
  Fake Blood, Suits, Fake Guns

Shot List/Storyboard - Click

Mise-en-scene - Click

Mise-en-scene – Click

Scenes	Actual Locations	When the scene is applicable
	Canary Wharf Station	When both detectives are discussing the potential crime scene Characters involved  Zayn Banks Joe Forbes
	LOMBARDY RETAIL PARK, SAINSBURYS CAR PARK, HAYES	When the fight scene occurs Characters involved  Zayn Banks Joe Forbes Brute
	Office, Greenford High School	When Jean returns to the office to reveal traumatic news to Joe. Characters involved  Zayn Banks Joe Forbes
	Person’s House, Northolt.	Establishing shot of Zayn’s house Characters involved  Zayn Banks Joe Forbes

Props that is needed:

·         Fake Blood

·         Suits

·         Fake Guns

·         LED Lights

·         Police Tape

·         Cards with numbers

·         Metal Suitcases

·         Tripods

·         Steadicam

·         Lavlier microphones

Costumes

·         Suits

·         Domestic clothing

·         Balaclava

Casting Details

Abdullah Al-Fadhli – Detective Jean-Baptiste Banks - a detective that has had a fatal experience of watching his family being tortured by the kingpin ‘Brute’ in front of his eyes. Jean desires vengeance but has been frightened of ‘Brute’ ever since.

Hitik Gohil – Detective Joseph Forbes – a detective who hasn’t experienced the same ordeals as Jean but feels sympathetic. Just as Jean, he feels that Brute has to be taken down. Joe and Jean are partners at EPD (Ealing Police Department).

Hussein Hamume – DeAndre Jones (Brute) – nicknamed Brute due to his aggressive manner towards his enemies. Due to his harsh childhood, Brute has chosen the path of crime. He is the kingpin of the Ealing area with many well-known criminals and policemen (not Detective Jean and Joe) work for him.

Hussein Abd – Mustapha ‘Spiker’ Ali – (Former drug dealer to being a reformed character). He now works in a grocery store. Spiker had to change his ways due to the fact that he is experiencing loneliness because he misses his daughter ‘Alia’. However he has been persuaded to one last job for a rival gang which was to kill ‘Brute’. This is important as Spiker didn’t originally want to do this act but was blackmailed due to the threat that the gang mad towards Alia.

Project Schedule

AS Coursework - Script

CLICK
15TH DECEMBER 2016

WRITTEN BY
HITIK GOHIL







SCENE 1 – SPIKER’S DEATH

THE SUN IS SETTING, A DEAD BODY IS SURROUNDED BY POLICE CONES AND SIRENS ARE HEARD IN THE BACKGROUND

FORBES:
This is a case that should be left alone.
BANKS:
You know we can’t do that, we’re paid to solve this shit.
FORBES:
You know what this means right?
BANKS:
Yeah, damn.

FORBES IS SEEN WALKING AWAY, BANKS FOLLOWS HIM

BANKS:
He’s back in town, we need to find him.
FORBES:
Why?
BANKS:
Because I said so, anymore questions?
FORBES:
Someone’s on his period.


FORBES WALKS INTO THE DISTANCE, THE SCENE FADES TO BLACK.



SCENE 2 – BRUTE’S EMERGENCE

BRUTE IS SEEN SPEAKING TO HIS GOONS IN THE BACKGROUND, A MAN IS TIED TO A CHAIR

BRUTE:
So you’re the little shit that tried to jump me?
SPIKER:
No.
BRUTE:
Where's my goddamn money?
SPIKER:
I don't have your money.
BRUTE:
Wrong answer.

PUNCHES ARE HEARD WHILE BLOOD SPLATTERS ONTO THE GROUND


SPIKER:

Alright! It's at...

BRUTE WALKS TOWARDS THE CAMERA AND IT ZOOMS INTO HIS EYES, IT SEGUES INTO THE DETECTIVE’S OFFICE.


SCENE 3 - LATE

FORBES IS SEEN STANDING OUTSIDE A HOUSE AND WAITING FOR FORBES

FORBES:
Hurry up man, we're late.
BANKS:
Yeah, give me a sec.


THEY ARE THEN SEEN IN THE OFFICE WAITING AT THEIR DESKS. THEY RECEIVE A NOTIFICATION ASKING THEM TO RESPOND TO AN ONGOING MATTER.


SCENE 4 – REALITY

BRUTE IS STANDING IN AN ABANDONED AREA WITH A BRIEFCASE, HE SENDS A TEXT TO BANKS WITH HIS LOCATION, WE SEE THE SUN DIPS AND BANKS APPEARS

BRUTE:
Are you just going to stand there?
FORBES:
(Into communication device)
He's here.
BANKS:
(Into communication device)
Okay, I'm coming.

FORBES IS SEEN WALKING TO BRUTE, HIS BODYGUARDS COME TOWARDS FORBES AND RAISES THE GUN. 

BANKS:
(Stops time)

BANKS DISARMS THE BODYGUARDS AND COLLAPSES THE BODYGUARDS. FORBES GOES TO A SAFE LOCATION.


BRUTE:
What’s this voodoo shit you’re doing, where’s my gun?
BANKS:
You used to be the kingpin, looks like there’s a new boss in town.

BRUTE LUNGES TOWARD BANKS AND PUNCHES HIM IN THE FACE, HE CONTINUES TO JAB AT BANKS, HE CLICKS HIS FINGERS AND THE SCENE STOPS.

BRUTE:
The hell is going on?
FORBES:
Alright, watch out this time, he’s going to try and grab you.
BANKS:
No shit, Sherlock.
FORBES:
Take him out at the knees, then hit him in the centre of the chest.
BANKS:
Will that kill him?
FORBES:
No, he’ll just be unconscious.
BRUTE:
Consulting the only one with a brain at your firm?
BANKS:
(Laughs at BRUTE)
BRUTE:
You only have the body bro, can’t do anything without the smarts.
BANKS:
(Looks at BRUTE)
 FORBES:
Don’t listen to him, knock him out.
BRUTE:
He’s going to realise that you’re dead weight soon, he’ll ditch your ass.
BANKS:
He has one thing you don’t: loyalty.

BANKS CONTINUES TO BEAT BRUTE AND HE EVENTUALLY HITS BANKS

FORBES:
Are you not going to hit his neck?
BANKS:
Nah screw that shit, this guy is about to get murdered.

AN EPIC BRAWL ENSUES, BRUTE GETS SOME JABS AT BANKS AND BANKS CLICKS AND STOPS TIME. HE HAS ONE FINAL HIT ON BRUTE AND BRUTE FALLS TO THE GROUND

BANKS:
It’s over now.
BRUTE:
You don’t have the balls to kill me.
BANKS:
(Raises gun)
Try me.

A GUNSHOT IS HEARD AND BRUTE FALLS TO THE GROUND, FORBES APPEARS AND PATS BANKS ON THE BACK

FORBES:
It’s done now, the threat’s gone.
BANKS:
It’s funny how we spend our lives looking for murderers and today, I’m that person.
FORBES:
Cocky shit got what he deserved.
BANKS:
Yeah he did, listen, thanks for your help man I-

FORBES:
Don’t sweat it.
BANKS:
Thanks man.

THEY ARE SEEN WALKING AWAY FROM THE AREA AND INDISTINCT CONVERSATION IS HEARD.

BANKS:
Well, I guess I’ll see you at work tomorrow
FORBES:
Yeah, business as usual.

THEY SHAKE HANDS AND GO SEPARATE WAYS, THE CAMERA GOES BACK TO BRUTE. WE SEE THAT A CHEMICAL HAS SPILT INTO HIS MOUTH AND HIS EYELIDS OPEN SLOWLY. A PULSE IS EMANATING FROM HIS SKIN, HE HAS ACQUIRED SPECIAL POWERS. HE IS UP ALMOST INSTANTANEOUSLY.
BRUTE HAS NOW ACQUIRED POWERS SIMILAR TO BANKS.

BRUTE:
Oh it’s on now.




END