Costumes and props

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1. COSTUMES AND PROPS 2. COSTUMES 3. ETHAN This is the outfit that I will be wearing to play Ethan. We decided that wearing predominantly black clothes was the best…
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  • 3. ETHAN This is the outfit that I will be wearing to play Ethan. We decided that wearing predominantly black clothes was the best option for Ethan’s outfit so that he seems different to everyone else, also it makes him elusive and shows that he wants to remain hidden away from people. The clothes are very ordinary (iconography of his working class background which is conventional for the genre), something that you would see on a day to day basis which reflects the harsh times he has been through. Not to mention that whoever has been in care for him for this long has either not had the money to buy him new clothes or he has just had hand-me-downs for the majority of his life. The black also has connotations of the judgment society places on him, because of his background.
  • 4. BUSINESSMAN This is the outfit that Nick our businessman is going to be wearing. He has to look like he is actually a businessman and the same as all stereotypical businessmen, he will be wearing a black suit. This shows his upper class status, and indicates to the audience that will be working at a high end job. His costume establishes a binary opposition with Ethan between privileged and unprivileged. However that is ironic because the colour black of his suits connotes how Ethan's situation can easily happen to anyone.
  • 5. PROPS
  • 6. PHONE, LETTER, AND BRIEFCASE The phone is going to be used by the businessman when he is shouting, showing that he is angry at a potential client or colleague. The letter, the most significant prop, is held by Ethan throughout the opening sequence, it is the letter that he got from his father which is the whole reason for him being at the station in the first place. The briefcase is also used by the businessman when he falls up the stairs and all of the papers come out of it. The briefcase and phone act as iconography of the businessman’s wealth and status, whereas Ethan only has the letter, opposed by the technology represented by the businessman’s phone. The papers and the letter also allow for us to use a graphic match.
  • 7. TRAIN TICKET, BEER BOTTLE, SUGAR GLASS The train ticket is bought by Ethan so that he can get the train to where he wants to go, as he grabs the ticket out of the machine it sparks the flashback of his dad getting the beer bottle. The train ticket also represents freedom ironically he is going back to his dad. conventional in social realism films to lack new equilibrium or for characters to be trapped by their experiences/ upbringing/ class. The sugar glass will be used when the parents are arguing in one of the flashbacks, it will be either thrown against the wall or thrown at the foster mum by the foster dad. The breaking class can connote the violence which characterizes Ethan’s life. This is conventional in social realism to see men trying to assert masculinity through violence, as they often feel emasculated. The beer bottle is used by the dad as part of a flashback. It is a key reminder to Ethan that he never had the parents that he wanted similarly that this was the reason why he didn’t live with his dad after his mum died in the car crash. We got the idea to use alcohol from our focus group as they said it was more realistic to a modern day society.
  • 8. WATCH, PAPERWORK The watch is worn by Ethan when he is checking what time the train is going to depart, however it could also be used as a metaphor to symbolise that Ethan’s time with his dad has been very limited and that he is relieved now that he can finally begin to form a relationship with him again. The paperwork is going to be in the suitcase of the businessman and when he trips over the paperwork is going to fall out of the suitcase which sparks the final flashback of him throwing the paper into the bin at his old foster home. The paperwork connotes that Ethan is just another statistic in the system, he is not special nor exclusive.
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