To Kill a Mockingbird
I will use the next piece of text as a monologue. … She looked dubiously at the gothic manor. Flashbacks of the news reports flicked in and out of her head. “Two school girls were found at tombstone manor last night. The bodies were found decapitated… ” She remembered that after that, the place was deemed haunted. She looked at her hands, which were shivering with what she thought was the cold, but maybe another factor was at work here. She dismissed this from her mind and entered, hoping she would find a phone to call a taxi.
She approached the door, which looked oak, but was hard to tell with the amount of dust and police barrier tape. When she shut the door behind her, she stood in a magnificent hallway. A large marble gargoyle hung from two silver chains, both ridden with dust and cobwebs. The gargoyle was holding a coat of arms: two scythes with a gladius hanging in the centre, all wreathed in flame. Suddenly, she heard a faint whisper over her shoulder, but by the time she had span round to check the dark presence, it had vanished. It was probably less than five minutes later when she heard the blood-curdling scream.
She collapsed with fear on the floor, her eyes darting left and right in the darkness, but all she saw was shadows. Without warning, drums started to pound along with the sound of two girls crying. The noise got louder. harder. faster, until…. The passage you have just read shows how I create suspense. It doesn’t begin with an introduction to the story or its characters; it just throws you into the fray. I used dark and gothic language to emphasise the fear and suspense I would need to use in the mocking bird script.
For each of the storyboards I would draw, I would incorporate these skills into them. For example, when Arthur radley comes to the window and jem is standing next to the house, I would have him take short breathes and have him sweat to emphasise his fear. He would be picturing what would happen to him if he were caught, and all of the scary stories he has heard about him. He would be shaking and be frantically ready to run for his life. When I have to direct ‘how to kill a mocking bird’ again I will use all of my skills again, but each would be incorporated in a new way.
I would direct it the same, but for the parts that emphasise suspense, I would have the actors dramatise these until it felt like they were actually re-living the experience for themselves. The only lights I would use would be a cold blue, which would stay on constantly, a red for danger and a green to show fear and anguish. The space between the actors and the audience would be small, to give a feeling of claustrophobia, a feeling of dread, I feeling which implores them not to enter, like the voice of reasoning, but that voice, is just a whisper now.
This would be running through their mind, so the actors would have to incorporate this into their acting, and I would personally make sure that their minds were mentally ready. The house would be made out of a constructed backdrop, so the actors could lean on it, but boo can still be behind it. I would have it painted in teal and ruebric, and have a demon painted on with glow in the dark paint, so when the lights cut out, the audience would see the demon the plagues boo.