It has been decided that the plan that we were going to use (Jack's) was far too cliché to be used for the final production. To execute it in a way that would make it a good, solid film, it would need a budget vastly larger than what we have (which isn't a lot). Instead, we've decided to go with a more subtle approach. Here are the changes to the scenario:
The story will be following the escape and pursuit of a prisoner (clad in hospital-type wear, and with a bar-code on his hand - to imply human experimentation) from a government facility. The government agent (now without the trench-coat; it was deemed as being "too '90s" and "too Matrix") is sent to follow this escapee and bring him back to the facility - and after a claustrophobic chase scene, he catches up to the escapee. Instead of following his instructions to capture him, he lets him escape with the line "I never saw you; now go.". This creates a deliberate ambiguity in binary opposition; it keeps the audience guessing as to who the protagonist is, and who the main character is. It generates an uneasy sense of mystery - and the audience is left gripped and unsure.
We were toying with the idea of making the escapee a girl so as to make her seem more vulnerable (and to imply the idea of rape, even though it's not actually going to happen) - and this would greatly increase the tension and feeling of paranoia of the scene where the government agent corners her next to a fence (this will be expanded upon in a later post).
Also, it's not going to be called System Crash, because that name is very, very cliché.
The story will be following the escape and pursuit of a prisoner (clad in hospital-type wear, and with a bar-code on his hand - to imply human experimentation) from a government facility. The government agent (now without the trench-coat; it was deemed as being "too '90s" and "too Matrix") is sent to follow this escapee and bring him back to the facility - and after a claustrophobic chase scene, he catches up to the escapee. Instead of following his instructions to capture him, he lets him escape with the line "I never saw you; now go.". This creates a deliberate ambiguity in binary opposition; it keeps the audience guessing as to who the protagonist is, and who the main character is. It generates an uneasy sense of mystery - and the audience is left gripped and unsure.
We were toying with the idea of making the escapee a girl so as to make her seem more vulnerable (and to imply the idea of rape, even though it's not actually going to happen) - and this would greatly increase the tension and feeling of paranoia of the scene where the government agent corners her next to a fence (this will be expanded upon in a later post).
Also, it's not going to be called System Crash, because that name is very, very cliché.
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