From my research the standard format of a horror genre's opening titile's were well established throughout the film industry standard. As a primary resource there was an obvious impact from our own experience of horror films in their entirity. Due to personal preference we had an idea for a stalker-esque film which would seem appropriate in the current horror climate (with films like; Fatal Attraction, Scream and One Hour Photo as resources) but with investigation and the lack of recent popular releases dettering from these themes the gorup decided (and was enticed) to further our ideas in a supernatural direction with upcoming releases; 'A Nightmare On Elm Street' 2010, 'Drag Me To Hell' and 'The Unborn' which in plot all maintain a stron supernatural or paranormal element that is sometimes undefined. This became our point of interest the introduction of the 'cursed' element as a more tandemic route for our premise.
Subconciously the opening titles were formed from the idea of a continous scene in the retrospective style of 'Hitchcock'. His film 'Rope' is edited to give the notion of a continous shot that also places the action in realtime. Although not evident profusely in our final outcome the premise was built soundly on a one shot constant focus on a single figure. The hope was this continuation would build tension much like that of the focus and excess movement much like that in 'Rope' and also 'Touch of Evil'. Although, in the advancement of technology it was easier to prodcue an agressive and tensious opening titles from a sucession of shots which interelated much like that of 'Dawn of the Dead' (http://www.youtube.com/watch?v=r0no0HE3xMo)
Due to our initial idea being so stationary in comparison to the movement of the camera evident in the example of tracking in 'Rope' and the the montage-esque flow of the opening titles of 'Dawn of the Dead' we finally used, was created by following the example of the film 'Se7en' (and the prior examples).
Defining separate shots and scenes seemed important in the editing process. By framing shots as to skew a perspective and then cut in a fastidious manner reflected the motion and ferociousness we wanted to suggest in the plot that would follow and acted in s subliminal fashion. We established several props, characters and settings; a female lead, the burning doll, a wilting rose, the bedroom (the mirror could be defined as separate, the reflection has its own space) and an exterior 'recreational' area, the swing and path. 'Se7en' focuses on; a book, a razor blade, skin, a masculine character established by hands and a needle.
The main difference is our introduction of an established environment, in 'Se7en' the interior is only suggested by the high-key lighting but that is differentiated by a contrasting low-key perhaps used to suggest a time progression. This was used to give the audience the relationship between the events in this film and the probability it could happen in any location. If no specific environment is established it can be assumed to be generic and creates a vast space for a verisimilitude that is overall more believable. We didn't conform to this as we were suggesting an idea similar to 'The Exorcist' of an isolated case for the later premise of our film. The suppression from our characters isolation and loneliness in the 3 locations gives her an ambience of the unpredictable, the shallowness of her movement enhances this perspective of diminishment. Hopefully to an extent to be retrospective enough to be credible in a modern filmic industry.
Some other point which I have tried to create relevance from in previous posts was the extent
I researched music and spent time composing and then re-composing in various forms to
create a piece which not only conformed to a stereotypical composition but also used
modern technologies in the form of advance additive synthesis and sampling and then
developed to conform in terms of musical structure within minimalism and experimental
pieces of composers like 'Philip Glass' and 'Steve Reich'.
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