A black screen, onto which a splash of water emerges and vibrantly takes the form of the production logo – adjacent to the logo is the studio name. IGNITION! Meanwhile the IGNITION™ soundtrack is rendering in the background. The screen fades to black, and non-diegetic sound of a metropolis city can be heard. A sudden sound of rushing cars and the words - IGNITION PRESENTS come into view. The words on screen are shaped to resemble a car.
OVERKILL! The name of my title emerges on screen – the font is smooth and three dimensional. Once more sound of rushing cars can be heard and the Director’s name appears on screen.
The film opens in a metropolis city. From above, the urban city seems serene and ordinary. All of a sudden the urban harmony is broken when Drake is running through the busy streets, pushing his way through pedestrians - knocking a businessman to the floor and his newspaper. An extreme close up of the newspaper allows us to read important details on the paper, which explains why Drake is running. The newspaper also includes an image of the actor with the caption below STARRING [and the actor’s name]. The man tries to collect his paper of the floor, but it begins to blows away - the audience can just vaguely see Drake running away into the distance.
The camera jump cuts back to Drake, as he is running around a corner and sticks himself up on the wall suggesting he is hiding from someone. We begin to emphasise with Drake because of a POV shot as his eyes pan across watching a police car whizzing past. The adrenaline is empathised at this point, by all audio being overpowered by Drake’s heartbeat and his panting.
Dramatic irony is formed when a police officer walks behind Drake; this is shown with a POV shot. The officer grabs Drake by his shoulder, turning Drake’s body to see his face; we see a close up of Drake’s face terrified. The camera fades to black and you begin to hear a digital alarm clock goes off and an alarm clock appears on the screen. The camera pans towards Drake’s bed – Drake abruptly jumps up, waking up from a bad dream. OVERKILL BEGINS!!
OVERKILL! The name of my title emerges on screen – the font is smooth and three dimensional. Once more sound of rushing cars can be heard and the Director’s name appears on screen.
The film opens in a metropolis city. From above, the urban city seems serene and ordinary. All of a sudden the urban harmony is broken when Drake is running through the busy streets, pushing his way through pedestrians - knocking a businessman to the floor and his newspaper. An extreme close up of the newspaper allows us to read important details on the paper, which explains why Drake is running. The newspaper also includes an image of the actor with the caption below STARRING [and the actor’s name]. The man tries to collect his paper of the floor, but it begins to blows away - the audience can just vaguely see Drake running away into the distance.
The camera jump cuts back to Drake, as he is running around a corner and sticks himself up on the wall suggesting he is hiding from someone. We begin to emphasise with Drake because of a POV shot as his eyes pan across watching a police car whizzing past. The adrenaline is empathised at this point, by all audio being overpowered by Drake’s heartbeat and his panting.
Dramatic irony is formed when a police officer walks behind Drake; this is shown with a POV shot. The officer grabs Drake by his shoulder, turning Drake’s body to see his face; we see a close up of Drake’s face terrified. The camera fades to black and you begin to hear a digital alarm clock goes off and an alarm clock appears on the screen. The camera pans towards Drake’s bed – Drake abruptly jumps up, waking up from a bad dream. OVERKILL BEGINS!!
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