The Rationale Behind Our Idea

We felt that we had a good set of three idea to work with. However our espionage idea was original and we believed if we could do it right, it could go very well. Our location and availability of props was a large part of choosing this idea. We had access to a 1958 Morris Minor, this gave us the chance to make our 50's setting as authentic as possible. We also knew that not alot of other thrillers had access to a 50's car, so our options of having a thriller set in different time periods gave us the oppurtunity to come up with more ideas than just a modern day crime thriller. Our location was also a part of this, as we lived close to Stamford we felt a 40's/50's time setting could be pulled off if we found the right areas. This is due to the fact Stamford is a very old historic market towns with alot of the buildings dating back to the 1800's. We also found that parts of Stamford looked very 'Parisian' style, so we knew a Thriller set in 50's Paris could be done.

 Our other ideas we felt, were too similar to other Thrillers that we had been shown or seen ourselves. We tried to make them as unique and different as possible, but overall, we decided our Espionage idea stood out from other productions.

Our audience feedback gave us alot of positive responses on the idea of a 'post - war Paris were Germany had won the war'. People felt, like us, that it was different and could be done very well if done correctly. This is another reason we chose this idea. We spent alot of time deciding whether or not to put the whole production in black and white or just to film in standard colour to make it feel more like a modern day Thriller that was set in the 50'sinstead of trying to get a look that made it look like it was filmed in the 50's. Overall, due to our survey questions, we decided to keep the production in colour.

Our main inspiration was Quentin Tarantino's 'Inglorious Basterds' which was set in the 40's during the war and a large majority of the film was also filmed in France. The violent feel to the film was something we wanted to try and re - create as best we could, and at the same time, use our props, costume and general mise-en-scene to keep authenticity. We also took inspirtation from Stanley Kubrick's 'A Clockwork Orange' as he uses some classical music in certain sections of violent scenes. We decided to incorporate something similar in our killing sequence.