Storyboards

Here are the original storyboard drawings, compared with clips from the actual film. They may have changed slightly from the original drawnings because of difficulties with filming and  editing difficulties

We wanted to start with an establishing shot of the surrounding area, and make the house look remote - a stereotypical setting for a crime thriller. However, as this was too hard to do, we settled for a low-positioned close up shot of the detective exiting the car. This worked to our advantage, however, as we tried to hide the face of the detective until a scene inside the house, and this high angle shot allowed us to do this.

Again, this shot was used to hide the identity of the detective until we see him for the first time talking to the older detective, and this creates a sense of mystery amongst the audience.

 

 

This shot is of the detective walking up to the house, and ducking under some police tape at the bottom of the steps. Just like the previous shot, the audience cannot see the face of the detective until he is talking to the older detective inside of the crime scene, and this is mysterious for the audience.

 



This shot is of the detective inside the house, walking towards the crime scene. The audience cannot see anything apart from the back of the detective and the inside of the house, and this creates a sense of mystery amongst the audience.

 

This scene is the first glimpse the audience get of the older detective. We use an over the shoulder shot of Alex Cross looking onto the crime scene, where John Walker is talking to a CSI Specialist, to make the audience and the younger detective see the crime scene for the first time, together.

 

The shot is just before the detectives start walking towards the body. They both converce as the camera changes position from behind Alex Cross to behind John Walker.

 

 

The shot-reverse-shot is used to get the reaction of both characters when talking to eachother about the crime scene and