Treatment

An un-named detective prowls down a dimly lit alley. As he walks, he flexes his fist. Over the sound plays a narration. The man hears the noise of ma can being kicked somewhow behind him, stops, and reaches into his jacket. About a hundred feet away, a dark figure moves out of sight. The detective continues on his way.

Cut to a building. He walks into the porch and unlocks the door. After entering, it becomes clear that all the lights ore off. He flicks a light switch, but it doesn't make any difference. He checks outside once before shutting the door. He heads to a living room where he sinks into a chair and puts his hat down on the table. He switches on a lamp.There are sweets and cigarettes scattered on the desk. He reaches for a cigarette, but is interrupted by the old-fashioned ringing of a phone. After hesitating, he picks up the phone. The caller's voice isn't heard. The detective says "yes", "yes, "I don't think so", "then it looks like you and I have even more of a problem than I thought". There is a menacing knock at the door. He delicately puts the phone down and stands up.

Fade to black and the title appears: NOIR LIGHTS.

The ideas for our opening come from what we have learned in product analysis of film noir.
We are going to incorporate all the techniques of a film noir opening that we can, including narration, low lighting schemes, an orchestral soundtrack and dramatic camera angles.
Since our film will be neo-noir rather than regular film noir, because we can't recreate the 1940s, we have made sure to watch many recent noir films, such as L.A. Confidential, Sin City and In Bruges, to see the techniques used in contemporary noir.