P2 SUPPORT DOCUMENT

‘FEAR STREET: THE BEGINNING’

Logo Experimentation

For this logo, I decided to go for a handwritten font at the top, called “October Crow”, as it perfectly
reflects the horror nature of the show. As for the typewriter-esque font at the bottom, it references
the show’s origins as a series of books.

With this logo, I went for “Anonymous Clipping” as the first font. It seems fitting, as it connotes the
sense of mystery, potentially referencing newspaper headings detailing the horrific events recently
taken place in Shadyside. Once again, I vouched for a typewriter font, this time using “Silk
Remington” as it is clearer than the previous one.

I decided to combine my two favourite fonts from the previous logos (October Crow and Silk
Remington) to create the third potential logo. The contrast between the scribbled font above and
the clear text at the bottom is eye catching, easy to read, and perfectly captures the show.

Out of all of the potential logos, I have decided to use this final one, as it best represents the series’
aesthetic, acknowledging its origins whilst still being a new design.
Character Profiles

Cory Brooks
Cory is the first protagonist in the series, although he is featured also in
the show’s fourth episode. He is somewhat naive and gullible and spends
most of his time in the first episode with his “rose coloured glasses” on,
which his friend Lisa tries to take from him repeatedly. He is loyal and
honest, trying to warn his friends later in the series.

Required

● Male (cisgender or transgender, depending on chosen actor)

● Average height (5ft 7” to 5 ft 9”)
● Age 17-20
● Any race/weight etc.

Desired

● Good chemistry with other characters, shy demeanour where possible

● Soft spoken
● comfortable with romantic or confrontational scenes

Lisa Blume
Lisa is Cory’s best friend, who first raises suspicions about the first
episode’s antagonist. She is infinitely more logical than Cory and wary of
other people, making her an ideal protagonist.

Required

● Female (cisgender or transgender, depending on chosen actress)

● Average height (5ft 4” to 5ft 6”)
● Age 17-20
● Any race/weight etc

Desired

● preferably nonwhite
● successful with micro facial expressions
● pre-existing facial piercings preferable, but false ones can be added
Meg Dalton
Meg is a mutual friend of both Lisa and Cory, and the protagonist of episode
four, The Surprise Party. She is headstrong and somewhat arrogant, taking no
nonsense from anyone. Her wit and sharp personality should contrast the other
characters.

Required

● Female (cisgender or transgender, depending on chosen actress)

● Above average height (5ft 6” upwards)
● Age 17-20
● Any race/weight etc

Desired

● able to pull off sarcasm

● potentially good at improvising comebacks to her friends

Della O’Connor
Della is the protagonist of episode 7, The Overnight. She is shown to be an
unlikely yet successful leader when the overnight trip to Fear Island takes a
turn for the worse, and she is seen as a devoted friend and completely
caring person.

Required

● Female (cisgender or transgender, depending on chosen actress)

● Average height or below (5ft to 5ft 5”)
● age 17-20
● Any race/weight etc.

Desired

● plus size actress favourable and preferably nonwhite

● her character should develop throughout as her confidence builds
● comfortable with a colourful and feminine appearance
Willa “Anna” Corwin
Willa is the antagonist of the first episode, as she kills her sister Anna before
adopting her identity. She embodies the appearance of the typical “girl next
door”, which she uses to her advantage. She is deceitful and manipulative,
posing as innocent yet mysterious at school in order to mask her true
intentions

Required:

● Female (cisgender or transgender, depending on chosen actress)

● Above average height (5ft 6” upwards)
● Age 17-20
● Any race/weight etc

Desired:

● Blonde hair
● Ability to portray Willa’s multiple personas with ease
● Comfortable with romantic and confrontational scenes
Script example - Episode 1: The New Girl
OPENING SCENE
Opening credits fade to black.
The fade turns to a shot of a singular lamppost at the start of a
residential road. It is night time, and the low, flickering glow of
the lamppost casts an eerie appearance on the quiet street. There is
typical nighttime ambience, which is then interrupted by footsteps.
LISA walks past the streetlight with her dog. She has headphones on,
from which the theme music to the show can be heard, although
slightly muffled. The dog, TOBY (a young, blue border collie), is
not on a leash and hears a rustling sound from a bush at the front
of the Corwin residence before running to investigate. LISA notices,
and pauses the music , then begins trying to find her dog.
Characters have a Connecticut accent, or a Standard American accent
with most t-sounds replaced by d-sounds.
LISA. Toby- Toby? (muttering) Oh no.
Closeup of TOBY sniffing by the Corwin’s side gate.
The shot pans to an upstairs window, and the flickering form the
lamppost catches on a mirror. In the mirror, between flickers of
light, is ANNA, lying completely still on the floor. The shadow of a
figure is seen above her.
The camera pans to reveal WILLA stood at the top of a small
staircase, sinister grin on her face
WILLA. Bye, Anna. (she chuckles) Goodbye.
The camera focuses on ANNA as WILLA’s footsteps can be heard,
pleonastically. Meanwhile, WILLA’s voiceover is heard, narrating.
Occasionally, the narration breaks for WILLA to speak diegetically.
WILLA’S NARRATION. Look at her down there, all crumpled. Her
dress all crumpled. she wouldn’t like that. She wouldn’t like the
blood, so dark and messy.
WILLA strokes her sister’s hair, crouched down above her, satisfied
with a smile on her face.
WILLA. You were always so perfect, Anna.
Pause.
WILLA’S NARRATION. Well, you’re perfect now. You’re perfectly
dead, ha ha.
WILLA snickers, no longer stroking her sister’s hair.
The camera cuts back to the outside of the house, as the Corwin
family car pulls into the driveway, camera focusing on TOBY, still
sniffing.
MR CORWIN. What the- hey honey, is this the neighbour’s dog?
MRS CORWIN. No? I don’t think so. Does it have a collar?
LISA’s footsteps are heard, followed by her voice as she spots her
dog.
LISA. He’s my dog. I’m so sorry.
The camera remains static, focusing on TOBY while LISA scoops him
up, and leaves, apologising. The Corbins’ responses are
unintelligible as the scene cuts with her exit.
The camera returns to the view from the bedroom window once again.
WILLA is still crouching over ANNA.
WILLA’S NARRATION. I never knew it would be so easy.
WILLA. (whispering) one push.
WILLA’S NARRATION. One push and down you go.
WILLA stands up, fixing her appearance before the arrival of her
parents.
There is the sound of a key in a lock, with a closeup of WILLA
pausing to listen.
WILLA’S NARRATION. And now the front door is opening. They are
returning. And I am starting to cry.
Her expression changes quickly to one of complete distress and
horror, tears starting to stream down her face.
She looks over at her dead sister as if for the first time.
WILLA’S NARRATION remains callously smug.
WILLA’S NARRATION. It is a horrible accident after all. A
horrible tragic accident.
WILLA examines her expression in the mirror, turning once again to
look at her sister, then back at her. She looks convincing, and she
knows it.
WILLA’S NARRATION. I must cry for you now. And I must run and
tell them.
She takes a deep breath,stepping out of the room slightly before
screaming
WILLA. Anna’s dead! Mom! Come quickly! It’s all too horrible -
but Anna’s dead.
WILLA enters the room, running. The sound of her footsteps is
accompanied by frantic sprints up the stairs.
The camera pans down to the lifeless ANNA, whose face is covered
with her hair.
The parents enter the room, slightly out of focus, but their shocked
expressions can still be identified.
WILLA rushes to her sister’s side, clutching her against her chest,
sobbing violently. MRS CORWIN joins her daughter, attempting to take
ANNA from her sister’s arms, whilst weeping uncontrollably. MR
CORWIN paces the doorway, hand on his forehead, crying quietly,
repeatedly muttering:
MR CORWIN. How? Not Anna. Perfect, perfect Anna.
MRS CORWIN. (wiping her eyes, attempting to compose herself)You
have to let her go now, sweetie. We’ll call someone. A doctor, the
police. Someone. We’ll call someone. Let go now
While MRS CORWIN speaks, the camera zooms out past the family
huddled around ANNA and back to the street.
LISA is walking TOBY who is now on a leash. they are further down
the other end of the road, and when MRS CORWIN says her final
sentence, WILLA’s scream is heard
WILLA. NO!
LISA pulls her headphones off, unsure of what she just heard. TOBY
begins barking frantically in response, as a concerned LISA attempts
to keep walking away.
His barks fade to the ringing of a schoolbell, as the frame fades to
black once again.
END OF SCENE

Notes:

➔ although a majority remains, some of the content from the book is cut due to duration and
differentiation purposes
➔ In the book, this “scene” is the prologue, and the Corwins’ reactions to their daughter’s
death is never shown
➔ Lisa is not mentioned in this scene originally, however she serves as the catalyst between
the opening theme to the opening scene, and this explains how she is already aware of Anna
Corwin’s death
➔ Lisa does not have a dog in the book, and he was created to give a ‘purpose’ for her to be
somewhat present during this scene
➔ Toby is a reference to the dog of the same name in Friday the 13th Part VIII: Jason Takes
Manhattan which is another piece of horror media
➔ Anna’s hair covers her face in order to minimise the level of detail shown towards her injury
in order to stick to the age rating.
Opening and Credits
When will the introduction play?
The introduction will take place at the very beginning of each episode, before any opening scenes.
This is to capture the audience's attention prior to any of its content actually being shown.

How will it look?

Each credit sequence will start the same: a fast paced longshot of the start of Fear Street itself on a
dark night lit by old fashioned street lamps, then tracking down to a gothic looking house, up the
front stairs of the house, up the stairs to a set of doors. The doors creak open, revealing a creepy,
low lit office with a desk in front of a long bookcase with a fireplace to the side with a tall office chair
by it. The camera tracks past the fireplace then to the bookcase, tracking the numerous pieces of
gothic fiction as if the audience are sitting on the chair wheeling themselves across the room. Once
in the approximate centre, the camera pans to face the desk, whereby a copy of the book said
episode is based on is placed in the centre. An invisible hand opens the book, bringing it up to the
camera whilst simultaneously, the needle for a record player comes down. The theme song begins
before the pages flick, showing frames from storyboards relating to the episode, whilst crediting the
cast and crew. The flicking becomes more frantic, as the images become a sort of flipbook like
animation, which will slow to a stop, reaching the final image. The frame will focus on this image
momentarily, before it fades to a photorealistic shot the drawing was showing, and the episode
begins.

What do you intend to do?

As the blurb of the book will not be shown, the opening credits should show the highlights or at least
snippets of what is going to happen, much like on real book covers. The illustrations will be done in
the same style as the original cover artwork, using the same saturated colours but with the
characters more resembling the actors. As mentioned earlier, the credits would introduce the cast,
director, producer, cinematographer, costume and casting directors, then the author himself.

What potential audio could be included?

An artist that I felt was ideal for the show is PVRIS. Their songs fit into the alternative rock subgenre,
and I felt that their distinctive beats accompanied often by bass or occasionally the harp were
perfect. Many of their songs feature brief instrumentals, which could be looped or extended to fit
the theme song. the songs I felt were most suitable for the series are:

● Monster - the lyrics are fitting, and the singer’s backing vocal runs are almost ghost-like and
haunting in nature, making them perfect for a horror show
 ● Dead Weight - again, the lyrics are fitting, and the bass drop during the chorus could be
good for catching the audience’s attention
● Sacrificial (by Rezz featuring PVRIS) - similarly with Dead Weight, the pre chorus and chorus
would be perfectly fitting for the faced paced animation
● Hallucinations - this song was one of my favourites due to its long instrumental towards the
end, featuring distorted vocals, distinctive beats and fitting lyrics (I can’t tell what’s real or
my imagination’s running wild
● Animal - I picked this song for the instrumentals in the introduction, as the animalistic
backing sound could be interpreted as like a monster
● GODDESS - I chose this song as well for its introduction, as unfortunately the lyrics are
explicit. The intro features predominantly bass alongside the singer’s “Ha-ha!” being
distorted and echoed. If used for a particular episode, it would be perfect for The New Girl
due to the lyrics “so come back from the dead/keep ‘em guessing, Lazarus” and could relate
to Willa
● Nightmare - the lyrics and chorus are perfect, with slight distortion as the singer repeats
“now I’m a Nightmare”

The band’s vocalist, Lynn Gunn, has a distinctive and memorable voice, which is always beneficial
when thinking of a TV theme song. In 2021, PVRIS collaborated with the creators of the Netflix series
Arcane to create some of its music, which would also show that their style is perfect for
incorporating into a project such as this.

How will your introduction link with the end of the product?
The introduction will feature enough content to let the audience know what to expect, but equally
enough to pique their interest for what was not shown. For the younger audience, the music is likely
similar to what they already listen to, and the artwork would hopefully be nostalgic for the older
bracket of the demographic. The end credits would start with Acknowledgements, much like there
are included at the end of most books, such as the Fear Street ones themselves. As the audience
have seen everything the episode had to offer, the credits could similarly feature a section of what
to expect from the next episode in the same style as the opening credits, with the flipbook-esque
animation style revealing key characters or scenarios to maintain audience interest. The end of the
credits would feature a fade to black with THE END written in the signature font, followed by a
scream, then a complete fade to black. The consistency with the credits would hopefully be
appealing and professional.