Audio in our film

For the sounds of our film, the diegetic (real-world) sounds as well as the non-diegetic (added) sounds will be at the forefront as they are the ones that will be used to create an atmosphere in each scene and to provoke emotions.

We will use nature sounds for the diegetic ones that are relevant to the location. To clarify, in most scenes, Layla's room, where there is not much dialogue, music (which we do not know yet which will be playing) will be placed in the background, having sounds that are subtle but noticeable. We will have location sounds such as the parents walking around the house and Layla placing objects on the counter as foleys. These kinds of small attributes will help to achieve the feeling of presence and realism in the film.

Regarding the scenes where the action is happening outside of Layla’s room, firstly, we thought that the parents would argue in their room. But we came up with the idea of a door that would somewhat reduce the sound from the house. Then, we will probably put them in the kitchen to have a clearer dialogue. However, we still want to go with the initial plan but have a few experiments and see the actual result.

Cold Days - Beautiful *SAD* Piano Song Instrumental

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Mise-en-scene: Costume

 

Layla's Costume Design:

Clothing Style:

Layla is in a dark, gloomy mood, so her outfits should veer toward muted colors. Colors such as black, dark blue, and deep grey would make her look more like a person who is surrounded by the darkness of life—reflecting her aversion to dealing with this grief. Her garments should have a little bit of oversize or disheveled effect as this is a sign of inattention to the appearance traits which occurs in the period of grief. The distant vanishing of herself as well as the bitter turmoil within her are decernible by the ruffled rags, expressing the woman`s broken spirit.

• Tops: A large-sized black hoodie or a basic, worn-out hard rock band tee would be the right picks for her wardrobe. It is necessary to look old, as it would be wrong to assume that she would otherwise be thrilled by these things.
  

  
  
• Bottoms: It makes a great addition to the wardrobe, being both comfy and not really stylish, and it's something she could be wearing in the house. The clutter of her outfit is a metaphor for the chaos in her life, and the faded quality of the item implies how she feels like only a shadow of her former self.

Accessories:

Layla could wear a wristband or a chain that is identifiable with her brother, something very simple but with deep meaning. She should be wearing the bracelet as often as possible, perhaps even without realizing that she is doing so but definitely reminding her of her brother. The audience will notice the strong bond between the two and learn that it still has an impact on her life.

Footwear:

Her indifference and the absence of a will to get a new pair of shoes can be seen from how she wears old worn-out sneakers or boots she got years back. The boots may symbolize her finally let go of the past in which she and her brother used to be together and finally step forward to a new life.

Hair & Makeup:

Layla's hair might be unruly or disheveled and have a natural untidy look. She might wear it loose and maybe from time to time, she might hide her face or throw it up in a quick and messy bun to get the feeling of being practical without her emotions being up to the mark. Layla's makeup will be as uncertain as her hair maybe she would be having a smudged mascara and dark eyeliner giving her an exhausted, raw, and ragged look.

Overall Vibe:

One of the secrets of the figure out of Layla's disguise is that it's quite easy and yet it says a lot about her. The style is secondary only. The point is to stress Layla's sadness, how she has totally lost interest, and how she has become apathetic to everything around her. The way she dresses reflects her inner fight, but also there is an area for the subtle clues of hope and maybe, the nostalgia of the bracelet or the necklace.

This costume design would convey Layla's mental state to the audience immediately without the need for the character to express it directly.

Mise-en-scene: Set

Where it all occurs is one of the most significant things to consider when telling a story using a movie. The story itself depends in great part on the surroundings. It may affect the tone of the story, help us to discern the personalities, and even contribute to the narrative. Consider it as the room that surrounds everything else going on in the narrative.

The set is in my partner's room for our narrative, and it is the ideal site to gather everything. Layla's mental state will be reflected in the room. This is an emotional terrain reflective of the grief and battle of the character; it is not only a bedroom. We are helping to produce a world that seems like it could be of someone you know by giving the scene a living, realistic touch.

Layla's room will not be cheery or light as she is mourning deeply. It will be somewhat disorderly, much like her brain. Her past will reveal ignored awards and forgotten pastimes, which will be evidence of how much she has changed since her brother's death. The room should feel left, a location where Layla has ceased to maintain her surroundings and herself. The lighting and the angles the room is shot will further assist in conveying the isolation and grief.

The room will let us know much about Layla's interior world. The dusty, neglected space will reveal just how much she is trying to maintain everything together. We could even see a photo or memory link her to her brother—something that would help us remember who she used to be before everything changed. The collection itself becomes a personality, revealing to us what is happening inside Layla's core.

For this narrative, my partner's room sets will really bring Layla's emotional trip alive. It is an expansion of her mourning, her solitude, and the chance for her to rediscover herself—not just a physical area. The room will transform with the character, therefore making it as vital to the plot as the character herself.

Meet Layla

Meet Layla

I had a hard time choosing a name for my character because I wanted it to fit her perfectly. I checked so many websites, meanings and after a long search I found the name Layla. It means “dark as night” in Arabic and that fits her so well. Layla is dealing with a lot of grief and I wanted her name to reflect that. I kept looking just in case but I knew Layla was the right choice.

Layla’s Look and Personality

Layla has a dark style to match how she feels inside. She was really close to her brother and losing him changed her. My partner and I are still deciding if she’ll wear a bracelet or necklace to remind her of him but whatever we pick will be important to her character.

Her personality will show through her clothes, her room and the way she acts. She doesn’t talk about her grief but you can see it in everything around her. Her room is messy, full of things she used to love but has stopped caring about. She used to have hobbies and interests but after her brother’s death she let them go.

Layla’s Struggles

Because of problems at home and what she’s dealing with inside Layla turns to drinking to cope. It slowly makes her lose herself, pushing her further from who she used to be. Her room reflects this with dusty trophies and forgotten achievements showing how much she’s changed. Her story is about her struggling but we also want to show a small moment of hope – maybe something that hints she still wants to find herself again.

We want Layla to feel real, like someone people can connect with. She’s not just grieving; she’s lost and her journey is about finding her way back.

Storyboarding

The next step in my project is storyboarding. Storyboards help organize ideas and provide a visual plan, regardless of drawing skills. They’re helpful not only in the pre-production stage when you’re developing your ideas but also during production. When you're filming, things can become overwhelming. You might lose sight of the shots you need or what best advances the story. A storyboard serves as an anchor, keeping everything in check by showing the shots you planned and their significance; you might lose sight of the shots you need or what best advances the story. Here is my storyboard:

Film Opening Plot

After having researched the genre and figuring out the tone i want for my film opening, I officially have the plot. The story is going to be sad and emotional with a strong character struggle. I don't really do projects like this but i thik it can be fun to explore new tones and plots.

The story is about a teenage girl dealing with the loss of her younger brother due to suicide. She hears her parents arguing all the time, blaming each other on the brothers death. She has a lot of greif in her and finds an easy way out.

The film starts out with her lying on her bed, surrounded by pictures, hobbies, and things she used to love. She doesn’t do them anymore after the death of her brother she was lost and disconnected from everything. Then she walks out of her room and hears her parents fighting. They yell at each other, blaming each other for their son's death. She can’t take it and runs back to her room, grabbing the last of the alcohol she has, and sneaks out.

She rides her bike to meet someone who has more alcohol for her. The shots focusing on the various emotions she gets the whole time. She isn't just getting away, shes trying to escape reality for as long as she can.

These scenes gives me a lot to work with emotionally and visually in just two minutes. Now that I have the basic plan, I can work on the details and develop the character more. I’m excited to see how this turns out!

Media Theory

Todorov's Narrative Theory of Equilibrium states that is how stories can be structured. A story is divided into three large areas: Equilibrium, Disequilibrium, and New Equilibrium (Media-Studies.com 2024; FilmTheoryExplained.net 2024). 

Equilibrium is the state at the start of the story: everything is normal and characters have nothing to worry about in their lives. This gives life before anything happens.

Disequilibrium is a time when a thing happens to disrupt normal life, such as a major event, a problem, or an inner struggle for the protagonist. This is the most tense bit of the story and drives it forward.

New equilibrium is when the story arrives at a resolution. Things will not be as they were, but a new balance is created. Characters have altered or adapted in some way. This scene is used to close and finally give an ending to the audience.

Todorov's theory inspires many films, books, and TV shows to develop attractive storytelling. These three stages will also direct the narrative flow and audience engagement (Media-Studies.com 2024; FilmTheoryExplained.net 2024).