Film Noir: Storyboard

We made a sketched storyboard to go with each scene so that we had a good idea of how the sound, dialogue and shot types would all mix together in the scenes. It's definitely boosted our creativity and also made us feel more confident about what we want and how we want our film to look.

Film Noir: Filming Locations

Today we worked out all the locations we wanted to film our own Film Noir in!

It was a difficult task because making sure we find appropriate mostly local locations is key as it makes it easier for the whole team to get to where they need to be.

We rang up a restaurant named 'Frankie & Bennies' to see if we can film in there, but as they have said to us they need to ring their 'head office' for permission as they are a franchise, we have got a back up restaurant just in case, which is a pub in our hometown called George the 4th. Both are really dark and old fashioned restaurants and suit what we need a lot more than any other restaurants around. I hope that it is possible to film in our first choice. Venetian blinds are present in both for example, so they do fit the criteria already for 'Film Noir'!

We have worked out for each of our scenes where we shall film them and also worked out a filming schedule. After we know about the restaurant we can be sure of a timetable.

On Thursday the 1st of February we are going to a village road to film the changeover Bonnie does which is narrated by Bobby when he tells the story of what she is doing to detective Carter.

We will have two suitcases for props to make sure the point of the flashback story is clear. This will not take us a great deal of time to film, but we must make sure we stick to time limits so editing can be done efficiently.

Making sure that all of our cast can make these various occasions is really important. All 3 of our team must be there, but also because then we can all contribute to making sure the filming goes to plan.

We phoned the restaurant F&B's a final time and found that we could not film in our first choice of location. We have decided to film at George the 4th instead.

Our Schedule:

Scene 1 & 2: Tuesday 6th March, 11.20-1.20pm, In a school office

Scene 3 & 4: Monday 5th March, 5.30-7pm, George the 4th Pub in Baldock

Scene 5: Wednesday 29th February, 7-8.30, at a house of our own

Scene 6: Thursday 8th March, 9.30-11.15am, at a relative's office

I'm looking forward to starting to film!

Film Noir: Character Profiles

Scarlett Jones

Scarlett is shown to be a girl very loyal to Bobby. She is incredibly protective as we see in the scene where the detective turns up at Bobby's house, because she defends entry. In comparison to Bonnie, Scarlett has very little importance. But the 'femme fatale' quality that Bonnie posesses is what allows her to take control of the men she crosses paths with. Scarlett is left with Bobby as a second choice - he does not want to be used again. Scarlett is a very brave woman and if she had been given the option would have been right there shooting bullets at Bobby's enemies - anything to be alongside him. Something about the way the two behave suggest that they could have more than a professional relationship, but we never find out if this is true, because Bonnie is the one who is the sexualised female in the story, and should keep all attention throughout. What Scarlett's character can be compared to are the innocent females that usually deter the detective from the femme fatale for a short while, and then get let down as they fall in love with her. Scarlett is of course someone we would understand has some kind of linking to Bobby.

In this story instead of the detective having two women, Bobby does. This makes the Detective seem rather caring and his growing fondness of Bonnie seem much more realistic. I've found in films like 'Double Indemnity' that when the protagonist has two female interests neither seem very important to them, so I wanted to make sure the audience believe this relationship so that at the end they feel pity for Bonnie leaving the Detective behind for her own greedy benefit.

Film Noir: Character Profiles

Ben Humberstone - "Bobby Dents"

Bobby Dents is a criminal who is responsible for a number of murders relating to the drugs he deals and detectives who caught on to his violent ways. Detective Carter's father (as we are told in the opening narrative) was murdered by Bobby and his crew when he found they were responsible for dealing illegal drugs in the hundreds.

What we learn about Bobby however during this film is that actually he does not commit the crime Bonnie frames him for. This leaves us wondering whether he actually killed Carter's father, or whether Bonnie was in on that too - that would be why she targets him out of all the Detectives because he is more likely to be empowered by his drive for revenge. The rude nature of this character however does nothing for the audience to suspect his innocence - he has no respect for anyone other than himself. This is evident in the way he treats Scarlett and also the Detective when he arrives - he is not afraid of anything.

Bobby is portrayed as the innocent one in comparison to Bonnie at the end, and pitied because he was shot for something he wasn't responsible for. Bonnie is of course a character whose devilish ways are masked by her 'innocence', whereas Bobby never behaves innocently which is why he was easy to pin as guilty.

Bobby, like Detective Carter, is controlled by Bonnie. As the femme fatale, she has twisted both of them using her seductive mannerisms to make sure she comes out with exactly what she wants. Even though Bobby is a criminal and Carter a detective, they both still fall for Bonnie, which shows they are both weakened by the female lure. This gives them something in common, ironically, but also displays the typical nature of Film Noirs where the male character is a very insecure and weak person, despite their usual performance of strong, exterior emotions.

I think Ben is very strong looking guy and so to be able to play someone like Bobby this is perfect. Ben is a very good actor and despite his kind nature will be able to play this role with ease i'm sure!

Film Noir: Character Profiles

Ellen Bradford - "Bonnie Kensington"

Femme fatale: "An irresistably attractive woman who leads men to destruction"

This character is our femme fatale. She is firstly presented as incredibly vulnerable and someone that the audience perhaps wish the detective to fall for, as love stories are a nice watch.



We used Laura Mulvey's audience theory like they do in these films and put an attractive female in to attract the 'male gaze'.

I think by using a blonde femme fatale the typical 50's blonde, curly hair and red lipstick (much like marilyn monroe) is still interpreted as a 'sex' symbol.

The sexualisation of Bonnie should alert the audience that something is not quite right, however that reaction will differ from person to person. Ellen has quite a mature look about her and her eyes portray a hidden sense. This is key for the presentation of our character.



She moved from England as a young adult to the United States and so has picked up the strong american accent. Her sob story she brilliantly portrays in the first office scene to the detective shows the power of her seduction and female position. It's important that she has a past that will be very different from the detective's because it will add to her mystery and attract him to her further.




By shooting in the 1950's style it means that our femme fatale can be conventional. I like the way the women are portrayed - my favourite being the character of 'Phyllis' in Double Indemnity because she is perfectly conventional. I look forward to creating a similarly powerful character who dominates the storyline as a female.

Film Noir: Character Profiles

Ed Beard - "Detective John Carter"

This character posesses the arrogance and intelligence of the typical male potagonist that we see in so many film noir films, e.g Double Indemnity, but he actually loses out to the Femme Fatale (Bonnie Kensington) at the end.

I think it is important that our character can show some kind of emotional attachment to Bonnie because otherwise we cannot interpret the 'falling in love' process across to the audience effectively. This actor has a very soft look about his eyes which can contribute to understanding that he is a very gentle man at heart, but money and policing have hardened his exterior. This is obviously what makes him vulnerable to Bonnie.

When he goes to the Mob Boss's house (Bobby's) we know that Bobby murdered his father and that revenge could be his driving force, however Bonnie's power over him could also be responsible. As an audience we are left wondering who he actually did it for. If he did it for Bonnie, we then feel pity for him because he has lost not only his father but now his love through the conning scene.

Of course this character will wear a suit and a hat throughout the film, which is of course conventional. One idea we have had is that when Bonnie is in scenes with Detective Carter, he does not wear his hat. The hat can be a symbol of control, and he therefore only wears it when he has complete control over a situation.

One of the most common scenarios presented in film noir is when the main character begins the story from his point of view, and introduces the tale as a flashback. Carter has many narratives over the course of the film and I think this will strengthen his relationship with the audience, but also make our film similar to other film noir movies.

As the character is an 'anti-hero' (a term often used to describe the main character in this genre of films) we assume that his morals are not perhaps as innocent as they should be. His position as a detective does not stand in his way of getting revenge on Bobby - Bonnie provides the way in that he's been waiting for. However, it's important that the audience still feel pity for Carter because he is playing a depressed character and by the end of the story, despite a hope he might have found love, he ends up right back where he started.

Film Noir: Progress

Today we made sure that we completed the storyboards that go with our script. We have annotated them to contain details of our shot types and sounds so that we know exactly what each scene is going to look like.
One of the key details we have included for example is the close ups of our femme fatale. To make sure she comes across to the audience as a seductress we have included close up of her red lips, drinking from a wine glass, pose by the door upon meeting the detective, and also the sound of her giggles to add to her attractiveness. This is incredibly important because it leaves the audience feeling as though she is innocent and as we see the detective fall for her, it's almost like we don't want to believe that she is a criminal.

Film Noir: The Script

We have finished the script! Today we did the final talk through together to make sure everything on the paper was what we wanted in the film. We're getting more excited to film each time we read it through! Here's the finished script:

SCENE 1
(In office)
Detective John Carter: “I was told that these photographs of the towns latest criminals contained some of those we have before seen on many occasions. They were not wrong. 'Bobby' as he had been known had been in these photographs of the most wanted since he shot my father. He had also been drug dealing since I began my job back in '34. This lady was supposedly known to have a connection with him. I knew it was my job to try and find the two so that I could finally be at peace with the death of my father. Had I known what wool was to be pulled over my eyes, things could have ended very differently."

Date put on the bottom to show change of time.
SCENE 2
(In office)
(knock at door)
Detective John Carter: Come in
Bonnie Kensington: hello, sir. (waits by door)
Detective John Carter: What may I help you with, madam?
Bonnie Kensington: well, I’ve been thinking for some time that I should perhaps tell you policemen something, but I keep changing my mind. I don’t know if I should, oh
Detective John Carter: Maam you know we’ll help you and have your best interests at heart.
Bonnie Kensington: yes I know. Okay well I came over here 5 years ago from England, and my family, well, they weren’t to well off you see. I met this man called ‘Bobby’ one day after class and he promised me he’d make things better for us. So I believed him.
Detective John Carter: Bobby? Bobby Dents?
Bonnie Kensington: oh have you heard of him?
Detective John Carter: the name is a little familiar.
Bonnie Kensington: I’m not supposed to tell anyone what he’s doing with all his business but he does bad things to me sir, and I can’t take it no more.
Detective John Carter: what business?
Bonnie Kensington: Oh I couldn’t
Detective John Carter: Look doll, you gotta tell me what you know if you want this man to have the justice he deserves.
Bonnie Kensington: Well, okay sir. I know for a fact that if I was to be perhaps taken out for dinner by you I’d be more persuaded to tip the scales in your favour. You see, I can’t just give in to you immediately. He’ll have me shot!
Detective John Carter: Is there actually a problem here? Or do you just want some appreciation?
Bonnie Kensington: Oh sir there is a problem. A big problem. But there’s something about you and I don’t want to let you get away. So take me somewhere I’ll like and we can sort this thing out.


Detective John Carter: Chester! Get in here. We’ve got a case to unravel.

Chester and Carter look through the people bobby has supposedly murdered, and Carter’s father’s photograph appears. Music comes in and shows his face as he looks at it determinedly.




SCENE 3
(out for dinner)
Detective John Carter: (VOICEOVER) I couldn’t work out for the life of me what it was about Miss Bonnie Kensington that made me fall so fast. Knowing she had the control and was almost in charge of me made me weaker than I’d ever imagine.
(Giggles, leg rub under the table, laughing, drinking)
Fade in sound of them conversing but also the hustle of the restaurant. No focused dialogue.

SCENE 4

Bonnie: I’ve had a wonderful time
Carter: I shall sort this thing out for you baby.
Bonnie: Oh you are so kind Detective. I wish I could repay you!Carter: No repayment needed. It’s for you and me both.
Bonnie: Thankyou.
Carter: Anything for you! (they kiss, long shot)

Carter calls chester:

Carter: Meet outside the station. We’ve got to sort this thing out now.


Scene5: Detective Carter arrives at Bobby the mob Boss’s house.

-Knock knock-
(Scarlett, one of Bobby’s comrades, comes to the door, she opens it a crack. Obviously trying to protect her boss. She is trying to make detective Carter leave. He Refuses. )
-Door opens.-
Scarlett: And who might you be?
Carter: I’ve come to speak to your boss, now move aside sweet cheeks I haven’t got all night.
Scarlett: I’m afraid I don’t know what you’re talking about, ya know its past eleven, I could call the cops on you for making such a nuisance of yourself on my doorstep.
Carter: Good luck with the cops, now I’m here to see mister Dents, Bobby Dents. I’m sure he is here, now either you be a good girl and let me in, or things could get pretty nasty around here (opens jacket, a revolver on show)
Scarlett: Shit okay, hold on just a second mister.
(Door closes, Carter is left outside, and He sparks up a cigarette while he waits)
Scarlett: Okay sir, he will see you now
(She holds the door opens as he steps through)
-Bobby is sitting at a desk writing, he hardly acknowledges the detectives arrival. Scarlett walks over and perches herself on the side of the desk.-
Bobby: Step outside darling
Scarlett: But sir he…
Bobby: Leave us! (Slightly shocked at his outburst Scarlett slips out the room) Now detective, what was so urgent that you had to almost knock down my door at this time of night?
Carter: Maybe I just wanted a chat, its come to my attention that you might come into some money soon, (pause) ya know try about 10 K. This drug heist you’ve got going on, don’t insult me by saying you don’t know what I’m talking about, that amount of smack could make L.A. drop back into the oblivion that it was just crawling its way back out of! Now Bobby, if you would be so kind id like you to tell me where the deal is happening, then come with me to the station. Now this is gunna happen, you either tell me then walk there, or ill beat it out of you and drag you there, and I wouldn’t wanna rip that tailored suit of yours, would I?….So?….What’ll it be?
Bobby: Well sir seems you’ve floated out into some rather deep water; you don’t wanna mess with the sharks out here, so I suggest you run along and keep your nose outta my business.
Carter: I don’t want things to get messy, just tell me what you know!
Bobby: You have no idea what you are talking about, obviously whoever opened their trap to you, and I have a good idea who it is, isn’t telling you everything…
Carter: Cut the crap Dents.
Bobby: Uh uh uh, I wasn’t finished. (Pause) Now you should go and find out what is really going on, because Miss Kensington isn’t as she seems.
Carter: Leave her outta this!!
Bobby: Ahh I see, she already has you round her little finger, just be careful you don’t get scratched. Now I’m gunna give you 5 seconds to get the hell outta my house, or the next time you see your beloved Bonnie is at your funeral! (Puts a gun on the desk)
Carter: (pulls out gun) I said leave her outta this! Tell me where the deal is taking place!
Bobby: 5…4…
Carter: Don’t make me kill you; I wouldn’t want that information splattered over the wall behind you.
Bobby: 3…2…last chance detective.
Carter: Spill it Dents! (Raising his gun)
Bobby: 1...well I am sorry it came to this, shame you let your heart rule your head (picks up gun) rookie mistake kid.
-Starts firing at each other, Bobby behind his desk, carter behind the door-
-Bobby gets a hit in the stomach; he falls to the ground with a cry of pain, the gunfire ceases-


Scene 6:
(Setting: Bobby’s house. Bobby just been shot. Confession that it was femme fatale who devised the drug deal)
Bobby: [In agony on the floor] It wasn’t me!
Detective Carter: Cut the bullshit, Bobby
Bobby: I’m telling ya, detective, it wasn’t me. I swear to god
Detective Carter: Swear to me! [Punches bobby]. If it wasn’t you who was it, huh?
[Detective punches him again. No response/confession from Bobby. Detective turns to leave, about to walk out the door]
Bobby: Wait… [Detective pauses then turns. Paces slowly, menacingly towards him. Bobby gets up, hunched over desk, struggling for breath]
Carter: Who was it? [No reply] Bobby, who was it?!
Bobby: [Reluctantly] Bonnie. [Detective pauses in shock] I couldn’t tell you before but-
Carter: What? What do you mean?
Bobby: She’s been playing you like a fool and me as well apparently! Right now your so called beloved is dealing 100 grands worth of smack, she got us both right where she wanted. Out of the way!
Carter: No no wait, that can’t be right!
Bobby: sorry detective but little miss bonnie is probably out with hundred grand right now, and you won’t ever see her again. Trust is a powerful thing isn’t it.
Carter: Chester get him to hospital, I’ve gotta get after that bitch!
(runs out)




The script is fairly short as of course we do have a time limit of 5 minutes for our film. I think the script portrays the typical essence of film noir by it's quick, ignorant language and responses, as well as quite sharp american tones within the speech. I think it also reflects the time it's in - the language uses no colloquials from our modern day language.
Bonnie is a very seductive character and so her language needs to show this. Her desire to be taken out by the detective is underlined by her desire to get the money through tricking him, but of course the detective doesn't see this. His blunt manner is true of all protagonists in these kind of films - "do you just want some appreciation" he has some kind of radar when it comes to the 'femme fatale,' however as we see by the end, she has won him over.
Bobby is not an innocent character, although in this scenario he is presented as the victim to the Bonnie, although when he is shot for no reason he does fight back, initiating a tough side to him that disallows the audience to pity him. The only character we pity is the detective, who even though he has hurt the guy who murdered his father, he has done it for the wrong reasons and lost out on a woman he thought he might have loved. Overall the script is fairly negative and dark, just as film noir scripts should be.

Film Noir: Our Femme Fatale

This is a natural photo of Ellen, our character!

She has big blue eyes, blonde hair and full lips which make her instantly a typically good 'femme fatale'. With both straight and curly hair she can create the look of elegance we need, but I think curly hair during the film will be much more like the genre of film noir than straight hair.

She looks slightly too innocent in this image - even though her eyes and lips both stand out really well and create a strong focus on her for the image, I don't think it creates a seductive or dangerous alert in the mind.

This is one of my favourite shots. Here Ellen looks innocent and happy, which is portrayed through her smile, however the strong red lipstick, red nails, fur scarf and free flowing blonde hair suggests otherwise. The sepia effect I added onto this shot adds a touch of 'film noir' and makes her appear even more glamorous.

Here the seductive pose of 'lying' next to the camera is incredibly suggestive. Again the flowing blonde hair emulates 'freedom' and of course that's what the femme fatale in our story has. The emphasis around Ellen's eyes here create an idea of lust and the strong lips represent seduction. I put this in black and white because I wanted to have some images that look like the ones I looked at before - some of them were in black and white.

I like this photograph very much. I think that her eyes make her look 'cheeky' and the silent gesture asks the audiences to be on her side, which puts them in the same vulnerable position as the two men are in the story. The red lips and dress coordinate really well and her elegance is displayed in her hat, furry scarf and long, straight, neat hair.

The strong eye contact and straight on head position here that Ellen has with the camera shows her character has no fear, and also has power. Her poise shows confidence and perhaps even a high status because she is stood tall and is wearing fur, which is still even years after film noir was introduced, a representative of wealth.

Film Noir: The Team

Ben Humberstone

Guest Actor























Ellen Bradford

Film Maker

Ed Beard

Guest Actor

Antonia Hunter

Film Maker

Toby Fitch

Film maker

Film Noir: Script

Today the three of us started working on our script. We have come up with the script so far for these scenes. The outlines are:

SCENE 1: In the office. Detective Carter is looking at photographs with a voiceover of him telling us the situation from the future. Bonnie walks in and after catching the detective's attention with her story and charms, she leaves with a date.

SCENE 2: Carter and Chester converse about Bobby and begin to try and work out what it is they need to do to catch the criminal. The scene is short - Carter does not know what Bonnie wishes to tell him about Bobby's 'plans'.

SCENE 3: Carter and Bonnie go on a date. His voiceover explains to us his feelings for her - we do not hear any direct dialogue in this scene, it is only to show the growing relationship between the two characters. The hustle and bustle of the restaurant will be heard and the occasional giggle or laugh from either character.

SCENE 4: Chester and Carter again converse. We here learn of what Bonnie has told Carter during their time together about Bobby.

SCENE 5: Carter and Chester go to Bobby's place. They find Scarlett at the door who is not willing to let them in. Of course they get in and Bobby, Carter and Chester have a gun shooting match. Bobby gets shot and then finds out the reason why Carter is there. He reveals that Bonnie is in fact in charge of the whole scheme.

SCENE 6: Carter tries to find Bonnie, and ends up arriving to the place she is just as her car pulls away. Close up of the wheel may be here to emphasize the getaway, and the power she now has. Carter is left behind.

Film Noir: Still Photographs

The photoshoot today went really really well! We got shots of all our characters and can't wait to get moving on shooting the film!

Here is Ellen enjoying her time in the studio - we set up the lights and background appropriately. Behind the white sheet you can see a black screen is stored - this allowed us to change the background for the different characters accordingly.

Ed Beard - "Detective Carter":

To create this image we used a white background and a large spotlight to make sure the iconic hat was displayed, but also created a dark shadow on the left side of the face. This allows a sense of unease to pass through the mind when looking at it, but the eye contact the character has with the camera creates a sense of trust. As he is the main male protagonist in the story, it is key that the audience develop a bond with them as they must be on his side to feel the effects of the storyline in the way we desire.

Typical film noir conventions evolve around a suit being worn, and so this is what we've done! The white shirt and black tie combination is much more effective than if we were to used a patterned tie for example. In every film I have seen the main male wears a white shirt and black tie. An exception to this rule is the main character in 2005's Brick, because it is set in a high school and so him wearing shirt and jeans were appropriate.

Ellen Bradford - "Bonnie Kensington":

Here as you can immediately see the costume for our 'femme fatale' is very much a representative of the time period of which we want our film to convey. The fur shawl draped over her shoulders gives an indication of wealth and makes her seem almost a 'dramatic' personality. The black netted design of the hat again displays a sign of wealth, and as a lot of well established females wore these kind of hats we felt it was perfect for the role Ellen is to play.

The casually seductive pose she is standing in without a hint of remorse in her face suggests that she is dangerous, and that is also addressed in the direct eye contact she has with the camera. The dress she is wearing in this photograph is a very bright red, which is key to the story due to the semiotics of the colour which involve lust, danger and passion.

Ben Humberstone - "Bobby":

As I have mentioned in both the previous photographs, eye contact with the camera distinguishes the purpose of the character in the story. As here Ben is looking away from the camera, it suggests he is hiding something, or perhaps is guilty for something and by directing the camera it might be revealed. In contrast with the femme fatale who is deceiving viewers, this character is looking down and so develops a sense of vulnerability which can be understood when the true situation in the story is revealed.

The suit is a classic part of film noir, but by contrasting this outfit with the detectives it creates a divide between the two men and allows us to see the rivalry and the differentiated understandings about morals they have. The light focus creates shadows across his face and body but they are all very faint, and the picture fairly light. This means that we trust him as a character even though he perhaps may come across as 'evil'.

Antonia Hunter - "Scarlett Jones":

This is not a main character and so the lighting and white background present in the other photos is unnecessary. Direct eye contact and a relaxed, slightly sultry pose suggests the character is not innocent, or indeed ashamed of it. Because as you can see both Antonia (me) and Ben (bobby) in the above photograph are sitting on chairs it is creating the connection between the two characters. They are connected in the story. The darkness of the photo also initiates a mystery about this characters past and even future.

Toby Fitch - "Chester":

Again as here we do not have a main character the black background is used. The fact Toby is in a suit directly connects us to the detective because he is wearing one too. Chester is a fellow police officer so he needs to be related to the detective.

The thoughtful pose here suggests hard work and thinking which of course happens during the process of perhaps discovering murderers and being an important officer.

This character does not wear the white shirt and black tie combination because he is not a main character. This means that the detective looks even more 'suave' in a sense because his clothes are more distinctive.

Film Noir: Still Photographs

Today we spent a lot of time searching for appropriate costumes to allow us to portray the era of the 1950's through dress. We found a number of items which are absolutely perfect for our shoot, and of course our film. By doing these still photographs we can get an idea of how each of the characters will look in each of their attire and know what works and what doesn't, so when it comes to filming there are no wardrobe malfunctions!

We found today:

• trench coat
• black women's hat (netted, looks expensive)
• women's tweed jacket (like in the fourth photograph in the previous blog post)
• conventional 'film noir' style man's hat
• telephones (useful for creating the setting of the office in the right time period)
• red dress (for the 'femme fatale' during her getaway)(red signifies danger)
• briefcase
• Gun
• fur coat

And we will also use:

• pearls (as they are a sign of wealth)
• black dress (Scarlett's)
• white dress (Bonnie's; represents purity)
• red heels (represents lust, seduction and danger)
• red lipstick
• trouser braces
• fake cigarette

Tomorrow we shall shoot our still photographs to help us along the way to develop our own film noir's character profiles. It'll be exciting to get working with our actors!

These are the characters we have found actors for so far:

Detective Carter - Ed Beard

Bobby - Ben Humberstone

Bonnie - Ellen Bradford

Scarlett - Me

Chester - Toby Fitch