N.K.A productions 57-59 Beak St, Soho London, W1F 9SJ !ai"# NKAproductions$%ot!ai".co.

uk &hone no# '(' 75(' 11''

FILM IDEA
GENRE OF FILM Action, cri!e, dra!a AGE RATING 1(A TARGET AUDIENCE )he a*e audience +i"" ,e 1(&"us +ith not too !uch -io"ence and *ore to !ake it an 1. ratin*. /t is ai!ed at ,oth !a"e and 0e!a"e *ender1 +e are *oin* to archi-e this ,2 addin* a 3ir" character +hich is i!portant to the narrati-e. A"so it +i"" ,e ai!ed at +orkin* c"ass audience +ho ha-e o00ice 4o,s "ike an assistant or runner. /0 peop"e ,e"ie-e in 5"uck6 itse"0 e-en ,etter 0or the 0i"! the e"e!ents sho+ ho+ ,ad, and unrea"istica""2 thin*s happen. LOCATION )here +i"" ,e a tota" o0 0i-e di00erent "ocations )he co""a*e an o00ice-this +i"" ,e used to sho+ that the !ain character is an assistant +ho *ets the ,oss stu00 he +ants "ike tea and paper 0or the printer. /t +i"" ,e a s!a"" o00ice so it can sho+ ho+ stress0u" the +orkp"ace is. %i*h street- this is +here !ost o0 the 0i"! +i"" ,e set, this is a *ood "ocation to sho+ the 7ain characters "i0e *oin* ,2. %e +i"" see peop"e that are !ore happ2 the! hi!, +hich +i"" ,ui"d the narrati-e that he is a"one. A"so "ookin* into shops to see the stu00 he can ,u2 and shop around, and o0 coerce the shop +here he *ets the "otter2 ticket. 8a09- this is +here the -i""ain o0 the 0i"! +i"" ,e, +hen the narrati-e 0o""o+s on. 8ar park- this +i"" ,e used 0or part o0 the chase scene +here the -i""ain and t+o o0 his *u2s are tr2in* to capture the prota*onist o0 the stor2. A""e2 +a2- this is the -ita" settin* this is +here it a"" ,e*ins and ends. )his is +here the -i""ain *ets the upper hand and ,eats the prota*onist up rea""2 ,ad.

CHARACTERS: Sa! Fo+"er- is (( and raised in the outskirts o0 London, he is an o00ice assistant +ho is -er2 un"uck2 +ith the stu00 he does1 he +ants !ore out o0 "i0e and a ,etter pa2 che:ue. %e is the prota*onist o0 the 0i"! and he is the ;n"uck2 one. We +ant to *et peop"e 0ro! the co""a*e to p"a2 this part1 a-era*e ,ui"d can ,e 17-1. ,ecause the2 "ook o"der than +hat the2 are. Johnn2 5"itt"e 4ohn6 3ro-e- is (5 and raised in centre London ,ut conducts his ,usiness in the outskirts o0 London, he<s *ot enou*h !one2 to "oan to peop"e +ithin the *i-in* a*ree!ent. Litt"e 4ohn is ruth"ess and 0ear0u" person +hich e-er2one has paid hi! ,ack e=cept 0or Sa!. )his is the anta*onist o0 the 0i"! and he is the Bad one. We ha-e three peop"e so 0ar auditionin* 0or this part a"" 0ro! the co""a*e and so 0ar +e ha-e a *ood !atch, the person is /ta"ian, A0rican he is 5, > 0oot. S2dne2 S!ith She is 19 and raised in Kensin*ton and !o-ed to the outskirts o0 London at 1( 2ears o"d since then she has *one to co""e*e and pro*ressin* to uni-ersit2. She used to ,e Sa!<s *ir"0riend ,ut the2 sp"it up, the2 speak so!eti!es 4ust 0or *enre chat. She is the he"per in the stor2 and the *ood one. / a! thinkin* o0 *oin* to the dra!a depart!ent 0or this ro"e. )he ,oss-it +i"" ,e a !a"e adu"t, ?5 on+ards. %e "ikes to take ad-anta*e o0 Sa! *ettin* hi! to do a"" the ph2sica" +ork +hi"e he is !ain"2 on a co!puter. %e doesn<t care 0or an2 e=cuses and thinks his

the ,est. We are *oin* to *et one o0 the teachers to p"a2 this part, and to use his o00ice 0or the scene as+e"". 3u2 1- this !a"e is one o0 "itt"e 4ohn<s !en, he is (? and there to assist 4ohn to *et his !one2 0ro! the c"ients +ith a**ressi-e 0orce, he a"so encounters Sa! +hi"e tr2in* to *ra, hi! he *ets punched and kick and takes serious in4ur2. 3u2 (- this is the other 7an +ho assists "itt"e 4ohn to *et the !one2 ,ack 0ro! the c"ients, he is (?. %e is !ain"2 used 0or inti!idation +hi"e *u2 1 is the a**ressi-e one. / a! *oin* to *et a coup"e o0 peop"e / kno+ to p"a2 these parts. CREW )he producer-Kieran &o2nter is the one +ho ca!e up +ith the ori*ina" idea, he is takin* the ro"e to *i-e a ,etter understandin* on ho+ he +ants the 0i"! to turn out. )he @irector-Nathan 7or*an A!2se"0B / ha-e taken this ro"e ,ecause / ha-e a "ot o0 ideas that can !ake this 0i"! uni:ue, / had a detai" idea on the -i""ain ho+ he can ,e a thorn in the prota*onists side. / ha-e a -ision to ho+ each scene +i"" turn out, a"so / ha-e a *ood understandin* to +hat the producer +ants / ha-e *i-en !2 o+n ideas and +e are ,ui"din* on the!. Screenp"a2 +riter-An*us 7u""en is the screen +riter +ho is de-e"opin* the script ,ecause he has a "ot o0 e=perience in script +ritin* and has a *ood idea on the dia"o*ue 0or each scene. 8a!era !an- +e are a"" takin* part as the ca!era !an so each person can 0ocus on di00erent aspects, / +i"" ,e 0ocusin* on +here the ca!era shou"d *o on the "ocation +hen shootin*. Kieran is 0ocusin* o shot t2pes and an*"es +hi"e An*us is "ookin* into the ca!era !o-e!ents and con-entions +e can use. BEGINNING (brief) )he 0i"! is *oin* to start +ith Sa! Fo+"er on the 0"oor in the a""e2 +a2 ,ad"2 ,eaten up. )hen it +i"" *o in to 0"ash,acks o0 the "ast coup"e o0 da2s +hich "ead to this !o!ent. )he !ain character +i"" narrated to stor2 as it pro*resses to en*a*e the audience to +hat happens ne=t. )he 0"ash,acks +i"" start at his +orkp"ace 0ro! their pro*ress to the -ita" point. MIDDLE (brief) 1. %e does he<s dai"2 +ork +hich in-o"-es *ettin* tea 0or the ,oss and sa"tin* out i!portant docu!ents, +ith the ,ad "uck he has he scre+s thin*s up. (. %e has a con-ersation +ith his 3ir"0riend S2dne2 on a neutra" note, he tries to i!press her ,2 "eanin* on a door not rea"iCin* it is open he 0a""s. ?. %e ,u!ps into "itt"e 4ohn and *i-es hi! one da2 to *et his !one2 ,ack or he +i"" +ake up in an a!,u"ance D. %e ,u2s t+o "otter2 tickets 0or the euro !i""ions and one o0 the! is the +innin* ticket, so he :uits his 4o, and te""s his =-*ir"0riend S2dne2 to !eet hi!. END (brief) %e sees "itt"e 4ohn and their e2es "ock then it *oes into a hot pursuit, it "eads to the a""e2 +a2 +here Sa! and Litt"e John ha-e a 0i*ht +hich "eads to Sa! ,ad"2 ,eaten up and "e0t 0or dead. Litt"e 4ohn takes his "otter2 ticket 4ust in case it<s +orth so!ethin*. S2dne2 co!es a"on* he"ps hi! up *ettin* read2 to take hi! to a hospita", ,e0ore Sa! s!i"es and "au*hs +hi"e thinkin* "itt"e 4ohn took the +ron* one. When Sa! rea"iCes he had taken the +innin* ticket he "ooks strai*ht at the screen then ro""s to credits. WHY PEOPLE WOULD LIKE IT )here +i"" ,e a ,ri""iant narrati-e +hich +i"" use 8hase scene, 0i*ht scene, cross cuttin* and *ood editin* process "ike disso"-e, 0ade and :uick cuts. )he )a"ent +i"" ,e -er2 ne+ !ost actors had to start so!e+here "ike A" &acino !ade he<s carrier throu*h the *od0ather, Bruce Wi""is +ith @ie hard and 7e" 3i,son +ith 7ad !a=. the uni:ue se""in* point 0or !2 0i"! is it the stor2 ,e*ins on an open narrati-e +ith a non-"inear !otion the stor2 has a t+ist and ends on a c"i00-han*er it is a 0i"! idea +hich is approachin* a"" the ,est aspects o0 0i"! and tr2in* +ith !2 production tea! tr2in* to !ake a !asterpiece.