Filming in a popular shopping plaza wasn't as easy as we thought. While we had planned to use the setting for its vibrant vibe, we quickly learned that the high traffic, loud cars, and blasting music from people would be a big obstacle during our filming. Specifically, when we filmed the stalker walking up to Eva, the background noise became a constant issue that almost ruined the entire shot.
A picture of how busy the plaza was, even on a weekday night
At first, we tried to solve this problem head-on by attaching a Rode microphone to the phone we were using for the film, hoping it would help reduce the background noise. Our hope was that it would capture more of the interaction between Eva and the stalker and less of the disruptive sounds around us. Unfortunately, this method didn't work as we'd hoped. The microphone still picked up too much of the surrounding noise—cars honking, loud music, and people talking. This made it almost impossible to get clean audio for the scene.
We were stuck for a bit, unsure of how we should move forward. The noise was too much to ignore, and no matter what we tried with the equipment, we couldn't isolate the interaction between the actors. That's when we decided to take a different approach: instead of trying to clean up from the diegetic noise, we ended it by muting the audio entirely for that shot. Instead of the original sounds of the plaza, we decided that during the editing process our editor can layer in non-diegetic suspenseful sounds, building tension through the music rather than relying on natural sound. By using a suspenseful audio tract, we not only hid the distracting background noise but also enhanced the mood of the stalker approaching Eva.
When we first began planning Missing Eva, my group agreed that the text message shot would be one of the easiest scenes to shoot. It was just a close-up of Eva's phone with a simple text from the stalker popping up saying, "I'm here." This shot ended up being one of the hardest ones during the 2nd day of shooting, and it ended up taking way more time than we initially thought.
The first challenge came with deciding what to put as the name on the text message. We didn't want to reveal the stalker's name, as it would give away too much about his character. We needed something that kept him mysterious, while also hinting at his role in Eva's life. After a long discussion, we decided on "Mystery Man". This worked perfectly, implying that Eva doesn't know who he is—adding to the suspense of the story. Once we had the name decided, we moved onto the cinematography. The plan was to have the camera focus on a close-up of Eva's phone, which was laying in the car, with the message appearing on the screen. The real problem came when we tried to actually send the text.
A screenshot of the message attempts
We had our sound designer sitting in the backseat, who was sending the text message from her phone to the phone we were using for the film. It was very difficult for us to perfect the timing of this shot. There were many attempts where the text message wouldn't appear at all on the screen. Other times, we'd get "iMessage" instead of the actual message, or the message would appear too late. We tried a lot of things to make this shot perfect like fixing the phone settings and positioning the phone to make sure the message would show up correctly. This took a lot of trial and error, and sending texts over and over again until we finally got the exact shot we needed. The entire process took much longer than expected, and we learned that even a simple shot can come with challenges.
A still from the final shot of "I'm here" messages.
After capturing the first interaction between Eva and the stalker, we moved on to the next important scene: when Eva and the stalker walk toward his car, having a conversation. The goal of this shot was the keep the stalker's face hidden while also revealing the setting. Specifically, the path down the parking garage and where they were heading. We intended this to be a tracking shot that followed them from behind.
At first, this seemed like a great way to keep the tension between the two characters. But after reviewing footage, we saw several problems. The first issue was the audio—since we were following them from behind, it was difficult to hear their conversation clearly. Not only was the audio bad, but the shot itself looked very unprofessional. We couldn't see any facial expressions, and the shot of them just walking looked very boring. This lacked the emotions we were aiming for.
Me filming the new shot idea
To fix this, we decided to try something different. Instead of shooting from behind, we switched the camera angle to follow them from the front. This allowed us to focus on Eva's expressions and the dynamic between her and the stalker, all while keeping the stalker's face hidden. However, this came with more challenges. In order to keep the stalker's identity hidden, I had to lower the camera to a level that kept him out of frame. While this change improved the quality of our shot, it required me, as cinematographer, to walk backwards while filming.
Our editor stepping in to get the shot
Walking backwards and trying to keep the shot steady was very difficult for me. I was constantly worried about tripping or accidentally bumping into something. As a result, the shot ended up looking shaky and inconsistent, which was not what I wanted. At this point, our editor stepped in and offered to try capturing the shot himself. He suggested taking longer strides, which would help keep the camera steady, while he walked in front of the actors. This solution turned out to be the most effective. With his longer strides, the shot became very stable, and we were finally able to capture Eva and the stalker walking and talking. This gives us the perfect shot to transition into the next scene in the story.
As part of our ongoing production of Missing Eva, our second day of shooting focused on capturing the scenes of Eva and the stalker together, including the first interaction between them. The main goal was to make the encounter feel a bit unsettling, and as the cinematographer, I had a clear vision for how the shot should unfold.
Us attempting to get the interaction shot
We planned to film the conversation between Eva and the stalker from a side angle, also known as a profile shot. This shot shows the side of a character's face, which may make it harder for the audience to see their full expressions, but we weren't concerned about that because the shot was designed to keep Eva in full view while subtly cutting out the stalkers head. This allowed for his presence to feel mysterious and give the scene an eerie atmosphere. This technique would shot that something was off without fully revealing his face.
However, when we reviewed the footage, we realized there was an issue: despite our efforts, the stalker's face was still visible, which was exactly what we didn't want. The reveal of his features would counteract the suspense we aimed to get.
The stalker standing on his tippy toes
To solve this, we first attempted to adjust the height of the camera by lowering the tripod. But that only created a shot that didn't look right, since it was now too low on our actress for Eva. After several more failed attempts, we came up with a creative solution: we decided to have the stalker stand on his tippy toes. This allowed us to raise his height just enough to position him out of frame, keeping his face hidden without ruining the shot's composition. However, this solution came with its own set of challenges. Our actor struggled to keep his balance while on his tippy toes, which led to a few takes where the shot didn't look right. It was difficult for him to stay steady, but after a few attempts, we finally managed to get the perfect shot that conveyed the suspenseful vibe we were aiming for. This experience taught me the importance of flexibility when it comes to solving problems on set. Through our two days of filming, we learned the best solutions come from thinking outside of the box, even if it means asking our actors to be in a little bit of discomfort. In the end, the shot turned out exactly as planned.
On the first day of production, we encountered many issues. This time, it was about getting the perfect camera angle for one of our most important moments in the film. This shot is crucial because it's the closing shot of our film's opening sequence. In this scene, Eva's best friend, Sofia, is in a therapy session, reflecting on the disappearance of her friend. The exchange between Sofia and the therapist reveals how much time has passed since Eva went missing. Here's the dialogue from the scene:
*Time cut and best friend is seen in therapy office zoned out*
Therapist:How long has it been? *muffled*
*Sofia is still zoned out*
Therapist: Sofia?
Sofia:Sorry, what did you say?
Therapist: How long has it been... since she’s been missing?
Sofia: *long pause* 5 months.
This is a key moment in the film, since it's the emotional climax of the opening scene. The tension in Sofia's voice and the pause before she says "5 months" tells the audience how difficult it is for her to even say how much time has passed. Because of the importance of this moment, we wanted to get the camera angle just right to emphasize the emotion in the scene.
Our first attempt in getting the shot
Our first attempt was to take the smartphone rig off the tripod and have two of us (myself and the editor) hold the rig while trying to film the close-up. We thought this would help give us a steady shot, however it didn't work out. The shot ended up being shaky and awkward, which made it hard to capture the steadiness we were going for.
Our second attempt in getting the shot
After we realized the smartphone rig was not working, we decided to reattach the rig to the tripod and get more creative. We moved the tripod closer to Sofia's face to capture the intensity of her response. At one point, we tried adjusting the tripod by shortening the front leg and resting it on the couch to get closer to the actor's face, but the height still wasn't right and the angle was still off. After more adjustments, we placed the tripod Infront of Sofia, and this gave us the perfect framing. It let us capture the close-up shot we needed, with a steady camera that was able to focus on Sofia's expression as she said the line "5 months"
As we began our first day of production, we encountered some unexpected challenges. The first challenge we had to face was ensuring our audio was up to our standards. The first scene we filmed was the therapy scene shown at the end of our short film. This was for multiple reasons. The first reason was that Saturday was the best day to film for our actors, and the second reason being that we wanted to film the other scenes (that are in public) on days that won't be that busy, like a Thursday. On the first day, our main tools for filming was a tripod and a smartphone rig. To ensure better sound quality, we attached a Rode microphone to the smartphone rig. The setup was working great in terms of achieving clear audio, until the house's air conditioning created a problem. The noise was too loud and easily picked up by the microphone.
We first thought the solution would be simple: we could use the furry microphone cover (also known as a windscreen) to block out the AC noise. The cover is designed to reduce unwanted sounds like background noise and wind, and we figured it would work perfectly for the AC in the back. However, when we went to attach the cover to the microphone, we ran into another issue; The cover wouldn't attach correctly to the Rode mic.
Us filming without the windscreen
After several attempts with each member of the group trying to make it fit, we realized the issue wasn't something we could easily fix at the moment without our instructor. So, we decided to think outside of the box the solve the problem. Instead of continuing to struggle with the cover and loosing daylight, we simply turned the AC off in the house. While this wasn't exactly ideal, this solution worked perfectly to eliminate the background noise and ensure our audio was clear for filming.
The windscreen that wouldn't attach to the Rode microphone
Although this was a minor set back, we were able to overcome it and continue to film while we still had daylight.
As part of the creative process in pre-production, I wanted to explore how elements of other films could help influence the work of ours. I'm taking inspiration from the awkward first date scene in the 2014 movie Blended starring Adam Sandler and Drew Barrymore. Although Blended and Missing Eva have different themes and tones, there are specific moments in the Blended scene that I can apply to the awkwardness of two strangers meeting for the first time in our film.
The Awkward First Date Scene in the Film Blended (2014)
In Blended, the first date between Adam Sandler's and Drew Barrymore's characters is extremely awkward. It takes place in a restaurant where they're trying to lighten the tension of a first date. This scene also shows the cultural clash between the two main characters, which can be applied in our film. Sandler's character is shown as rude and impolite, compared to Barrymore's character which is shown as polished and proper. We can take inspiration from this when telling our actors what to wear and subtle actions to use when filming to show the contrast between Eva and the stalker. The awkward silences, laughter, and physical gestures show that the characters don't know how too interact with each other. This moment in the film shows that it's very important for us as filmmakers to understand the nature of awkward encounters between strangers. In our film, Missing Eva, we're filming a scene where two strangers meet for the first time with completely different context—the tension of meeting someone you've only spoken to online.
The Difference in Tone: Blended vs. Missing Eva
Though the tone of blended is more comedic and lighthearted, the tone of Missing Eva couldn't be more different. In our film, Eva meets a guy she's only talked to online. This could be seen as a romantic encounter, but the atmosphere is completely changed because we're quickly shifting from an awkward first meeting to an unsettling situation. Instead of a casual dinner, Eva and her date meet at the top of a parking garage, setting the tone for the danger that will follow.
In Missing Eva, Eva is excited, but there's also clear hesitation. Her excitement includes unease, which will build throughout the scene. In contrast, the characters in Blended still have humor to fall back on, so their awkwardness isn't as tense. Eva's awkwardness has a different approach. She doesn't have the same humor, which makes the situation filled with uncertainty. She doesn't know if this guy looked different than he described or if he is the person she thinks he is at all.
Building on the Awkwardness:
The moment Eva meets the stalker has a lot of discomfort to it. She's trying to be polite, but there's an undertone of unease. This mirrors the awkwardness in Blended, but in a darker more unsettling context. The beginning of the conversation goes like this:
Stalker:Eva? Eva:Hi! Eva and the stalker hug Stalker:It is so nice to see your face in person. Eva:Yours too. Honestly, you look different than you described. Stalker:Is that a good thing or a bad thing? Eva:A good thing. Eva:So, what are we doing? Stalker:If you're down, I know a good ice cream shop down the road. Eva:Okay, I can meet you there! Stalker:No, no, let me take you there, it’s not far. Eva:Alright (there’s hesitation, but she still seems excited).
This dialogue shows the subtle discomfort of meeting someone without knowing exactly what they look like or what to expect. The dynamic of tension mixed with uncertainty is what we want to capture, building on the awkwardness of Blended but using it to set up a much darker narrative.
One challenge I faced when I began to create the shot list was transforming my ideas from the storyboard into the shot list. The storyboard is a visual guide for the opening two minutes of the film, which helps give a rough idea of the direction for the aesthetic of the film. But, translating these shots into a detailed shot list with all the specific details was a bit difficult. A shot log is not just a list of shots—it includes camera angles, shot sizes, movements, environment (INT or EXT), time of day, and shot descriptions. Getting all these details together and ensuring they matched up with the storyboard was a challenge.
How I Fixed It:
1. Breaking Down Each Shot:
The first step I did was to carefully go over each frame of the storyboard and break it down. For example, in shot 1 of the storyboard, I had the stalker watching Eva on his computer with no frontality. I needed to decide if I wanted to make this a medium shot or an over-the-shoulder shot (OTS). This made me specify in my shot list that the shot would be an OTS shot, using a tripod from an interior location, with no frontality for the stalker to add tension.
The camera shot list I created
2. Shot Composition:
The next part was thinking about the camera movement. The storyboard provided a rough draft, but now I had to decide on the exact camera angle, shot, and if there would be any movement. For example, scene 3, shot 1 (Eva waiting by the elevator for the stalker) is a medium shot, and I needed to include it would be taken using a tripod. I also had to think about how the shots would visually tell the story.
3. Details:
The next step was filling out the technical parts of each shot. This included specifying whether a shot would be filmed interior or exterior and if there would be any camera movements like tracking or hand held. For example, when Eva and the stalker walk away in scene 3 shot 4, I wanted to follow their movement, so in the shot log I specified it was a tracking shot.
4. Ensuring Consistency
It was extremely important for me to make sure that the shot log and storyboard had the same flow and correct shot order. Since the first six shots set up important moments and tension, I made sure the entire shot log had detail that reflected the sense of unease. From Sofia looking at herself in the mirror to Eva unknowingly being followed by the stalker, every detail in the shot log had to reflect the suspense.
Transferring the ideas from my storyboard into a detailed shot log was challenging but very important. By breaking down each shot, keeping camera movement in mind and maintaining consistency, I was able to create a clearer picture of how each scene would play out. The shot log helped me visualize the film more as well as making it easier to plan out exactly how we can execute each shot. While the storyboard gave me a good outline, the shot log helped ensure that everything was set up exactly how I envisioned it.
During pre-production, I wanted to focus on the creative critical reflection planning, and particularly for the question "How did you integrate technologies—software, hardware, and online—into this project? This question gives me the opportunity to experiment with what technological tools we plan on using. (note that these images are not from the final film, they're from our planning and test film)
Picture I took during our short film of the iPhone on a tripod and rig
One of the first technologies we tested in our first film assignment was a handheld smartphone rig attached to a tripod. We had experimented with over-the-shoulder shots not knowing that in our final film how important these shots would be. An essential element for our film was this type of shot since we want to hide the stalker's face for dramatic effect. The image above shows the rig setup, with the phone in position to capture the over-the-shoulder shot. The main challenge we faced with this was ensuring the shot was stable and that the phone's movement was smooth and controlled.
Solution: The handheld rig attached to the tripod allowed us to keep the camera steady while allowing for a bit of flexibility. This setup will be helpful for many of the scenes where we want to maintain tension and suspense by keeping the stalker's face hidden.
Picture taken of me during our short film production
Another thing we experimented with in our last short film was the handheld rig without the tripod. This was most useful for a scene where we needed to get a smooth camera pan from a table up to an actor's face. Without the tripod, I had full control over the movement of the camera which is what we needed for this specific spot. I wasn't sure if removing the tripod would result in shaky or uncontrolled footage.
Solution: The handheld rig gave me much more control over the camera, which made it possible to get the natural and smooth pan. This flexibility means we'll likely use the handheld rig without the tripod for other shots in our final film.
The main camera we're using for our film is an iPhone 14, which belongs to our director. This device is important for a couple of reasons: it's an accessible and high-quality camera for filming, and since it belongs to the director, we know the footage will be safe and secure. We used an iPhone 14 for our first short film, and we concluded it was the easiest camera to use since we already know it well, and it offers excellent video quality.
Beyond the hardware, we plan to organize our footage using Google Drive. We used this for our short film and it allowed our team to easily have access to footage and stay organized. One challenge we face is deciding what editing software to use. This issue doesn't directly effect me because I'm the cinematographer, but its still important for me to help decide with my group what fits best. Last film, we used Adobe Premiere Pro and it was successful, so we will most likely use that.
After drawing out the first six shots, I realized that one of the most important lessons from our previous film assignment was the need to follow the rule of thirds lines. In our last project, we initially didn't always stick to the lines, and we found that some of our shots felt off balance or didn't have the impact we wanted. To avoid this problem in our current film, I decided to go back and add to the storyboard with red lines over the original drawings to indicate where the rule of thirds lines should be when filming. This ensures that our shots will feel well composed during filming.
The Revised First Page in Our Storyboard
Applying the Rule of Thirds to Our Shots:
In the updated version of the storyboard, I've added the lines in red ink. This allowed for me to see where my mistakes were during the visualization process before we begin filming. Now, when we begin production we're able to reference our story boards and keep in mind how we want to strategically place characters, props, and the camera itself. From my experience with my previous film, I've learned how important it is to pay attention to composition. Small adjustments of adding the main subject to line up with the rule of thirds can make a huge difference in how a shot feels. I'm confident this will create our film way more visually appealing and contain more impactful frames in our film.
As pre-production continues, one exciting decision is how we will introduce the title "Missing Eva" at the beginning of our film. The way we present the title sets the tone for the entire movie to follow, so we put a lot of thought into how we want it to appear. After watching the title sequence in Catch Me If You Can (2002), we were inspired to create something visually bold and fitting for the story we're telling.
The Title Scene From Steven Spielberg's Catch Me If You Can (2002)
This opening title sequence is a great example of how we want to incorporate the films title into the action going on. The credits slide onto the frame in a smooth way which align with the films tone. The movement of titles matches the fast pace of the visuals which can make the opening scene engaging with the audience. We were drawn to the idea of sliding titles, but not static and hard to read text. The Catch Me If You Can sequence made us think about how we could use movement to introduce our own title, "Missing Eva", in a way that would enhance the weight of the moment (Eva being taken). This is especially important in our film, where tension is key.
Our Idea:
The opening scene includes a shot where Eva is last seen, being driven away by the stalker. We want the title sequence to appear as the car drives off with her, building a sense of urgency from the start. The car pulling away reflects the idea of Eva becoming "missing", while the motion of the title sliding behind the car symbolizes the her vanishing.
How we plan to execute this:
• The Setup: The camera will be stationary on the side of the road using a tripod to give the shot a steady look. This will enhance the idea that the audience is just watching from a distance, just like the stalker or an unseen person.
•The Car in Motion:As the stalker's car drives off with Eva inside, the camera will be still, maintaining a focus on the car as it crosses the screen. We'll make sure that the movement of the car feels slow which will allow the audience to read the title while also enhancing the suspense.
•Sliding the Title: As the car drives away, the title "Missing Eva" will slide behind the car in a smooth transition. The letters will travel across the screen from one side to the other, staying in sync with the car's motion. After the car is gone and the title is sitting across the screen, it will begin slowly fading out and becoming less visible, symbolizing Eva's gradual disappearance. This representation will show the theme of her being taken, as the audience is left with the idea she is slowly being erased.
The title's gradual fading behind the car matches the theme of the film—Eva's abduction and her leaving to the unknown. The idea that her name is literally "fading" out of the shot symbolizes her being taken away and will give a sense of fear. One potential challenge with this idea is making sure that the title feels natural and doesn't distract from the tension of the scene. We want the title to enhance the moment, not overpower it. To ensure this, we plan on keeping the title simple and straightforward, using a clean font that matches the tone of the film. We'll also need to focus on the timing of the title's movement to ensure it looks fluid and doesn't distract from the car driving away.
As production continues, one crucial step is to finalize our filming locations. The right location is very important in setting the tone and mood of the scenes, and we've carefully chosen spots that can enhance the horror aspect of our story.
The Promenade Shopping Plaza
Our first finalized location is the Promenade Shopping Plaza, which is a nearby shopping center with a parking garage that we plan on using. We originally had planned on using the top of the garage but we never finalized where, until we found the promenade and decided it had the perfect atmosphere. In this scene, our main character, Eva, meets the stalker at the top of the garage. After a quick conversation, he gets into his car, unaware of the danger she's about to face. We chose a parking garage because it provides a level of isolation, especially as we plan to film the scene during a week day with fewer people around. The view from the top of the garage also creates an eerie shot that builds tension as the audience watches Eva make the decision to get into the car. One challenge with this location was deciding the best time for filming as the garage is sometimes busy during during certain hours. To solve this, we decided on shooting during a week day during quieter times, particularly the evening when there's less traffic.
Loxahatchee Road
Loxahatchee Road is a rural area near the Everglades, where we plan to film the scene showing the stalker driving Eva to an isolated location. This is very important in our story since it shows the point where Eva realizes she's being taken to a remote area, creating a feeling of dread. We chose this location since Loxahatchee is far from any urban areas which provides the isolation we need for this scene. It's quiet and eerie with minimal traffic or people which will allow us to film without distractions. One of the challenges we may face is ensuring that the lighting would work in our favor. To ensure lighting is consistent, we plan to film this shot at night time. There's pros and cons to filming in the dark. The pros include that the lighting will remain consistent. This is especially important since Lox is where the sun sets, so we want to make sure we don't film during sunset especially if it takes more than one day. Another pro is the insolation of the location. For cons, we mainly worried about making sure we will be able to see the outside of the car as it's driving during night time. But, this shouldn't be an issue because we will have multiple cars there; so if lighting is an issue we can use someone's headlights on a car or in the background as a light source.
Lastly, we've finalized a few interior locations at the director's house. The stalker's bedroom and Sofia's room are two locations that will help establish character dynamics and set the tone for the rest of the film. The director's house offers a convenient and cost-effective setting for some of the intimate scenes. One challenge we may face on the first day of production is ensuring that every piece of furniture, decoration, and prop makes sense for the character and location. We will have to take time with the director on the day of shooting on what will best represent the characters' inner lives.
The Stalker's Bedroom: There is where we'll show the stalker in his own space, adding onto his obsession with Eva.
Sofia's Bedroom: In a scene involving Eva's best friend, Sofia, we'll be shooting in the directors own room. This location was chosen because of its cozy feeling, which contrasts heavily with the darker location of the Stalker's room.
As the cinematographer, one of my main responsibilities is deciding which shots will best convey our story and the emotions we want to achieve. With the main concept surrounding stalking and kidnapping, the way we frame the shots in crucial to creating the right atmosphere. Recently, I did some research into the over-the-shoulder (OTS) shot, which is a technique we'll be using throughout our film. I watched the YouTube video "The Over-the-Shoulder Shot in Film (and How to Shoot a Dialogue Scene)" by StudioBinder, and it provided a lot of helpful ideas on how to use this shot to shape the tone of our film.
"The Over-the-Shoulder Shot in Film (and How to Shoot a Dialogue Scene) by StudioBinder
Key Points I Took Away:
1. Connect Characters with the OTS Shot
One of the first points the video touches on is how the over-the-shoulder shot can be used to connect characters during a conversation. The video shows how an OTS shot—specifically a medium close-up—cuts back and forth between two characters in dialogue, creating a sense of connection between the two characters. It's a shot often used in conversation scenes to show the relationship between the characters.
How This Applies to Our Film:
While we liked the idea of using OTS shots for the back and forth between characters in dialogue, we decided to edit this technique to fit out film better. In our case, we're trying to hide the identify of the stalker to maintain suspense and isolation. If we showed the stalker's face in an OTS shot, the audience would immediately know who they were, and the tension would be lost.
Instead of using a traditional OTS for both Eva and the stalkers conversation, we plan to use the shot for just Eva. We'll show the shoulder of the stalker, with the shot focusing exclusively on Eva's face. The point of this is to show Eva's emotions and reactions during the conversation without revealing too much about the stalker's identity. This will create question around the stalker while maintaining the connection between Eva and the audience, which will keep them on their toes as she encounters the stalker.
2. Disconnect Characters Using the OTS Shot
The second point discussed in the video is how the OTS shot can be used to disconnect the characters emotionally. The video explains that introducing any visual absence—whether it's through camera movement or specific framing—can create a sense of emotional disconnection. The example shown was achieved by dollying in, moving the camera closer to the character, and transitioning from an OTS shot to a close-up of one of the characters. This shift shows that the characters are no longer on the same page emotionally, which helps build tension in a scene.
How This Applies to Our Film:
This technique will be very useful for disconnecting Eva from the stalker in our film. For example, we can start with Eva looking at the stalker with a look of almost confusion or fear (she's never seen him in person until their encounter at the parking garage). But as the scene progresses and she starts to get a sense of unease, we could dolly forward into a single close-up of Eva. This creates the feeling of emotional isolation, like she's trapped in her own close-up—separated from the stalker emotionally. This shift in framing can show that the initial connection between them breaks a little bit, and Eva is becoming increasingly nervous.
As we continue to develop throughout pre-production, my group has been thinking a lot about the characters and how important it is the select the right actors to bring them to life. Our opening scene is filled with emotion and the actors we choose will help shape how the audience connects with the story. Here's a breakdown of our ideal actors for the key roles and why they're perfect for the parts:
Eva:
Eva is the first face we see in our film, and is also the one being kidnapped. We envisioned her to have lots of energy and enthusiasm, and also a little bit ditsy. We wanted someone who's naturally bubbly and doesn't shy away from showing excitement in her character. The actress we have chosen for Eva has a background in theater, which is perfect for capturing the exaggerated qualities of Eva's character. She also attends our school which is convenient.
An image of Jennifer Lawrence, someone we imagined as inspiration for Eva
Sofia:
Sofia is Eva's sweet and innocent best friend, whose concerned for Eva's safety and constantly warns her against getting involved with the mysterious guy she's seeing. Her loyalty to Eva comes through in the way she tries to protect her, even though Eva isn't always listening. We've chosen an actress with a theater background for Sofia as well. This actress brings a natural warmth and softness to the role, which helps establish Sofia as the supportive and loving best friend. The actress for Sofia also attends our school.
An image of Leightor Meester, someone we imagined as inspiration for Sofia
The Stalker:
For the role of the stalker, we have two options that we're currently considering. The first option is an actor with a background in theater. He's skilled with performance but doesn't have the physical look that screams "scary". The second option is someone who fits the physical description perfectly—tall and intimidating. However, he's never acted before, so we're unsure about how seriously he'll take the role and whether he'll be able to bring the intensity to the character. Choosing between these two actors is tricky because we need someone who not only fits the physical role but can also convey the creepy vibe that is so important to the stalkers character. Both options do attend our school which will be convenient during filming to keep in touch. We're leaning toward the second option because of the way of his appearance, but we'll have to be sure that he can take direction well and fully commit to the character.
The Therapist:
The therapist in the end of the our opening scene is more of a background character, serving mainly as a setup for the story to unfold. Since the role is pretty minor, we've decided to have someone from our production group play the therapist. This decision allows us to focus on the over-the-shoulder shots of Sofia during the therapy session, which emphasizes her emotional state rather than the therapist's character. While the character doesn't have a significant presence in the scene, the therapist still needs to appear neutral and professional to keep the focus on Sofia.
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