In a textile warehouse, worker Esther sees a silhouette of a figure when she turns the lights off, but sees nothing with the lights on. She warns owner Paul about the apparition, whom he ignores, and leaves. Paul is then chased and gruesomely killed by the figure.
Paul's stepdaughter, Rebecca, lives away from her mother Sophie and brother Martin. Sophie has a documented mental illness and depression that has resurfaced, talking to an imaginary friend. One night, Martin sees Sophie talking to a figure and is horrified, gaining insomnia. Rebecca takes Martin to her apartment to protect him, against their mother's wishes. That night, she awakens to find the figure, barely avoiding its attack just as the building's neon sign turns on. The next morning, Rebecca finds "Diana" scrawled on the floor. She recalls Diana from her own childhood, the reason she left when her father seemingly abandoned them. Later, she breaks in and sees files about Sophie and Diana, and that she was killed when exposed to a bright light for an experiment.
That night, Sophie has a movie night with Martin, but includes the figure, frightening him. She tells him a story about the figure, Diana, her friend when she was in an institution, who had an unusual condition that made her skin photosensitive. Martin sees Diana crouched above and turns on the light, escaping to Rebecca's before Diana can attack him.
Rebecca confronts Sophie about Diana but she denies the accusations. Rebecca, her boyfriend Bret and Martin decide to stay overnight to protect her. Rebecca goes to her bedroom to reconcile; however, Sophie secretly passes her a note saying "I need help" before Diana tugs her back in. Rebecca realizes that she is being controlled and turns on all the lights in the house to keep her away.
Knowing their intentions, Diana baits Rebecca and Martin into the basement by shorting out the power. Bret is attacked but escapes and contacts the police. Rebecca realizes that using blacklight can allow them to see Diana and discovers scrawled writings along the wall, explaining how Diana won't let anyone "take" Sophie and that she killed Rebecca's father.
A pair of police officers arrive and free Rebecca and Martin but are killed by Diana. Rebecca sends Martin to Bret and goes back to rescue Sophie. Diana then attacks Rebecca violently, but Sophie confronts her with a gun, realizing she's Diana's tether to the world. She then commits suicide by shooting herself which makes Diana disappear. Distraught, Rebecca, Martin and Bret reconcile and vow to stay together.
Paul's stepdaughter, Rebecca, lives away from her mother Sophie and brother Martin. Sophie has a documented mental illness and depression that has resurfaced, talking to an imaginary friend. One night, Martin sees Sophie talking to a figure and is horrified, gaining insomnia. Rebecca takes Martin to her apartment to protect him, against their mother's wishes. That night, she awakens to find the figure, barely avoiding its attack just as the building's neon sign turns on. The next morning, Rebecca finds "Diana" scrawled on the floor. She recalls Diana from her own childhood, the reason she left when her father seemingly abandoned them. Later, she breaks in and sees files about Sophie and Diana, and that she was killed when exposed to a bright light for an experiment.
That night, Sophie has a movie night with Martin, but includes the figure, frightening him. She tells him a story about the figure, Diana, her friend when she was in an institution, who had an unusual condition that made her skin photosensitive. Martin sees Diana crouched above and turns on the light, escaping to Rebecca's before Diana can attack him.
Rebecca confronts Sophie about Diana but she denies the accusations. Rebecca, her boyfriend Bret and Martin decide to stay overnight to protect her. Rebecca goes to her bedroom to reconcile; however, Sophie secretly passes her a note saying "I need help" before Diana tugs her back in. Rebecca realizes that she is being controlled and turns on all the lights in the house to keep her away.
Knowing their intentions, Diana baits Rebecca and Martin into the basement by shorting out the power. Bret is attacked but escapes and contacts the police. Rebecca realizes that using blacklight can allow them to see Diana and discovers scrawled writings along the wall, explaining how Diana won't let anyone "take" Sophie and that she killed Rebecca's father.
A pair of police officers arrive and free Rebecca and Martin but are killed by Diana. Rebecca sends Martin to Bret and goes back to rescue Sophie. Diana then attacks Rebecca violently, but Sophie confronts her with a gun, realizing she's Diana's tether to the world. She then commits suicide by shooting herself which makes Diana disappear. Distraught, Rebecca, Martin and Bret reconcile and vow to stay together.
Production:
RatPac-Dune Entertainment - "RatPac Entertainment (trading as RatPac-Dune Entertainment) is an American motion picture production and financing company formed in a merger by producer-director Brett Ratner, his partner billionaire James Packer, and Dune Entertainment's Steven Mnuchin, which provides funds to a number of Warner Bros. films. The company is the result of a 2013 merger between RatPac Entertainment and Dune Entertainment, following a collapse in negotiations between Dune and 20th Century Fox – which led the company to close a deal with Warner Bros. instead, replacing Legendary Pictures as Warner's key co-financing partner. Dune had been co-financing Fox films since 2006."
RatPac-Dune Entertainment - "RatPac Entertainment (trading as RatPac-Dune Entertainment) is an American motion picture production and financing company formed in a merger by producer-director Brett Ratner, his partner billionaire James Packer, and Dune Entertainment's Steven Mnuchin, which provides funds to a number of Warner Bros. films. The company is the result of a 2013 merger between RatPac Entertainment and Dune Entertainment, following a collapse in negotiations between Dune and 20th Century Fox – which led the company to close a deal with Warner Bros. instead, replacing Legendary Pictures as Warner's key co-financing partner. Dune had been co-financing Fox films since 2006."
New Line Cinema. n.d. In Wikipedia. Retrieved 23rd November 2016
Distributors:
Warner Bros. - "Warner Bros. Entertainment Inc. (often referred to as Warner Bros. Pictures, Warner Bros., Warner Brothers and also shortened to WB) is an American entertainment company and a division of Time Warner, headquartered in Burbank, California. Warner Bros. is a member of the Motion Picture Association of America."
Warner Bros. - "Warner Bros. Entertainment Inc. (often referred to as Warner Bros. Pictures, Warner Bros., Warner Brothers and also shortened to WB) is an American entertainment company and a division of Time Warner, headquartered in Burbank, California. Warner Bros. is a member of the Motion Picture Association of America."
Warner Bros. n.d. In Wikipedia. Retrieved 23rd November 2016. From https://en.wikipedia.org/wiki/Warner_Bros.
Timeline:
00:00-00:05 - The film opening of lights out opens with a man walking down a dark
corridor through the warehouse. The lighting used here is low key and diegetic sound is used of the mans footsteps
and the sound of his keys rattling in his hand. The sound of his footsteps stresses that he is alone and no one else is around as you can only hear his footsteps.
00:06-00:09 - The shot cuts to a close up of the back of the mans head.
00:10-00:11 - The shot then cuts to a view of the corridor in the warehouse. There is low-key lighting used down the corridor.
00:12-00:24 - Then a close-up is used of the mans face as he walks towards the camera. This shot fades into a long shot down the dark corridor. The man then walks back down the corridor. The diegetic sound of his footsteps and keys is present again.
00:25-00:29
- Then the camera pans round as the man turns a corner. The Incidental music builds up
quickly . The lighting is all low-key. As the man turns the corner a dark figure appears in between two of
the spot lights.
00:30-00:32- There is a close up of the mans face as he is speaking to the dark figure.
00:33-00:37 - Then there is an over the shoulder shot as the figure
slowly stands up.
00:38-00:42 - The lights in the corridor of the warehouse turn off.
00:43-00:51 - There is a close up of the mans face. He is looking around the room. As he Is looking around the music builds up, getting louder and faster.
00:52-00:53 - There is an over the shoulder shot down the
corridor. The dark figure is now gone. The incidental music is still present and
is building up.
00:54-00:56 - There is another close up of the man as he looks around the room. Then the man begin to run off. 00:57-01:02 - A tracking shot is used of the man running
down the corridor. The lighting is still all low-key with spotlighting. The
incidental music speeds up as he runs. Then the man trips over and falls to the floor.
There is diegetic sound of his keys hitting the floor.
01:03-01:08 - The man stands up. There is a close-up of his leg which shows he has a large wound. There is a mid-shot of the man. We can see that he has seen something as his eyes become fixated on something and he looks scared.
01:09-01:11 - There is a long shot where the woman is between the two spotlights and slowly stands up.
01:12-01:13 - There is a tilt upwards of the man. He is sweating and his facial expression shows he is scared and terrified.
01:14-01:19 - An over the shoulder shot is used of the man which shows the woman's head. She is close to the man now. The woman steps towards the man and a mid-shot shows him move backwards away from her.
01:20-01:23 - There is a tilt downwards to show the bottom half of the woman. This shot finishes with a high angle of a spotlight on the floor.
01:24-01:28 - The man looks up. The shot cuts to a close-up of a light. The man looks back down to the women.01:29-01:36 - The camera pans round to show the office In the warehouse. The door is still open and the lights are on. There is a tracking shot of the man running towards the office. The man gets into the office and closes the door. As he closes the door the dark figure tries to get in. The screen then goes black.
01:37-01:56 - The man walks over to the window in the office. The shot cuts to a long shot from outside the office. We can now see the man in the window. The shot goes back to inside the office. The camera pans around to show a shelving unit with a baseball bat on. The man gets the baseball bat and walks back over to the window. The shot cuts again to an outside view of the office. The two small spotlights above the mannequins go off.
01:57-02:09 - The lights in the office start to flicker. The man says "no, no, no". An outside shot of the office shows the lights in the office turn off. There is then a close up of the man holding the baseball bat in front of his face. He slowly walks backwards. The music builds up again and the lighting is very dark.
02:10-02:14 - There is a close-up of the office door. The camera zooms in and the handle moves.
02:15-02:18 - There is a close-up of the man’s face. There is a dark shadow cast across half of his face.
02:19-02:29 - There is another close-up of the door. The handle turns and the door swings open. There is a creak sound as the door opens. The shot cuts to a mid-shot of the man holding the baseball bat. The incidental music builds up.
02:30-02:32 - There is a loud bang and a dark blur pushes the man backwards. We cannot see what has happened as there is very low-key lighting.
02:33-02:35 - There is a shot of the mannequins from outside the office.
02:36-02:42 - There is a canted angle shot down the corridor. The spot light comes on to show the man played on the floor. He is covered in blood and evidently dead. The music gets louder at this point. There is a close-up of the mans face which is covered in blood.
02:43-02:50 - The lights flicker and then the screen goes to black. The music carries on over the black screen.
Costume:
00:06-00:09 - The shot cuts to a close up of the back of the mans head.
00:10-00:11 - The shot then cuts to a view of the corridor in the warehouse. There is low-key lighting used down the corridor.
00:12-00:24 - Then a close-up is used of the mans face as he walks towards the camera. This shot fades into a long shot down the dark corridor. The man then walks back down the corridor. The diegetic sound of his footsteps and keys is present again.
00:38-00:42 - The lights in the corridor of the warehouse turn off.
00:43-00:51 - There is a close up of the mans face. He is looking around the room. As he Is looking around the music builds up, getting louder and faster.
00:54-00:56 - There is another close up of the man as he looks around the room. Then the man begin to run off.
01:03-01:08 - The man stands up. There is a close-up of his leg which shows he has a large wound. There is a mid-shot of the man. We can see that he has seen something as his eyes become fixated on something and he looks scared.
01:09-01:11 - There is a long shot where the woman is between the two spotlights and slowly stands up.
01:12-01:13 - There is a tilt upwards of the man. He is sweating and his facial expression shows he is scared and terrified.
01:14-01:19 - An over the shoulder shot is used of the man which shows the woman's head. She is close to the man now. The woman steps towards the man and a mid-shot shows him move backwards away from her.
01:20-01:23 - There is a tilt downwards to show the bottom half of the woman. This shot finishes with a high angle of a spotlight on the floor.
01:24-01:28 - The man looks up. The shot cuts to a close-up of a light. The man looks back down to the women.01:29-01:36 - The camera pans round to show the office In the warehouse. The door is still open and the lights are on. There is a tracking shot of the man running towards the office. The man gets into the office and closes the door. As he closes the door the dark figure tries to get in. The screen then goes black.
01:37-01:56 - The man walks over to the window in the office. The shot cuts to a long shot from outside the office. We can now see the man in the window. The shot goes back to inside the office. The camera pans around to show a shelving unit with a baseball bat on. The man gets the baseball bat and walks back over to the window. The shot cuts again to an outside view of the office. The two small spotlights above the mannequins go off.
01:57-02:09 - The lights in the office start to flicker. The man says "no, no, no". An outside shot of the office shows the lights in the office turn off. There is then a close up of the man holding the baseball bat in front of his face. He slowly walks backwards. The music builds up again and the lighting is very dark.
02:10-02:14 - There is a close-up of the office door. The camera zooms in and the handle moves.
02:15-02:18 - There is a close-up of the man’s face. There is a dark shadow cast across half of his face.
02:19-02:29 - There is another close-up of the door. The handle turns and the door swings open. There is a creak sound as the door opens. The shot cuts to a mid-shot of the man holding the baseball bat. The incidental music builds up.
02:30-02:32 - There is a loud bang and a dark blur pushes the man backwards. We cannot see what has happened as there is very low-key lighting.
02:33-02:35 - There is a shot of the mannequins from outside the office.
02:36-02:42 - There is a canted angle shot down the corridor. The spot light comes on to show the man played on the floor. He is covered in blood and evidently dead. The music gets louder at this point. There is a close-up of the mans face which is covered in blood.
02:43-02:50 - The lights flicker and then the screen goes to black. The music carries on over the black screen.
Costume:
The man in the opening scene is wearing casual working clothes. He is wearing a blue shirt and trousers which makes him look like a stereotypical working man. However the creature is shown as naked wearing no clothes, which may suggest that its a ghostly figure. It makes the scene more scary because its not what you would expect to see. The creature has long black hair and is not tied up which may suggest how natural the creature is.
Lighting:
Lighting:
The majority of this opening scene is filmed in low-key lighting. This creates shadows across the corridors and across the faces of the characters. This creates a sense of fear for the audience as they don't know what could be lurking in those shadows. There is one section where the man is in the office where high-key lighting is used. This creates a lighter atmosphere releasing tension and fear.
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