Pre-Production: Shot Ideas

 In our film, we've decided to withhold the identity of the stalker throughout the entire thing, which will create a sense of mystery as well as increase the tension as the story unfolds. A major part of maintaining this goal is using cinematography to hide the stalker's face while still building a connection between him and the victim, Eva. I want to mention that we've officially named the victim Eva, which is a significant decision in helping to further our pre-production process.

1. Close-Ups of Hands and Body Language

Close-Up of A Hand Switching Gears

We want to keep the focus on the stalker's hands, movements, and body language rather than having the audience wonder where his face is. One way we're doing this is by using close-ups. For example, when he switches the gears into reverse while driving away with Eva, we can use a close-up shot of his hand on the gear shift of the car rather than showing the whole car moving. This keeps the focus on the action while still keeping his identity a secret. The choice to focus on his hands rather than his face makes the audience feel his presence without giving away too much. The picture above is similar to what I imagined the shot to be like, but I would prefer it to be more close-up as well as taken from a higher angle. 

2. Over-the-Shoulder Shots of Eva

An Over-the-Shoulder Shot from The Titanic 1997

Throughout the conversation Eva and the stalker have, we'll use over-the-shoulder shots from Eva's perspective when she's talking to the stalker. These shots allow us to focus on her reactions, her growing unease, and her vulnerability, while keeping the stalker out of full view. By showing his figure only from behind, it creates a sense of dread and suspense, since the audience is just as blind to his identity as Eva is at that point. It puts the audience in Eva's shoes, making them feel the tension of interacting with someone they can't fully identify or trust. 

3. Filming from the Back Seat

Shot Idea I found On Google 

Another shot idea I had in mind was the place the camera in the back seat of the car while Eva and the stalker are driving together. This shot would be filmed from behind their heads, keeping both characters in frame but never fully revealing the stalker's face. This shot will give the feeling of being trapped in the car with them, almost as if the audience is a silent passenger. The composition of the shot will create tension by showing the dynamic between the two characters, Eva's unease and the stalker's calm. Since there is no frontality and the characters will be having a conversation, we plan on making this shot very brief to avoid boredom or confusion.