Firstly, we had to decide which materials would work best for our characters/ puppets, which ones would not only look good but also give us the most mobility or whatever for each of our character performances.

Sculpting the head of each of the characters using styrofoam, carefully creating the head of the fox and the hare using a crafting knife and by using pictures as reference to get an accurate depiction for our film. We have also used styrofoam for the body parts, carving them to fit the characters human/ animal form and best suiting it to their age and their mobility. E.g. the hare is old therefore will be presented as much shorter and with a thicker body that will be hunched over and crippled, for the fox, as he is a very young and healthy character will be tall and have proper posture. We have also made the jaws separate, unhinged jaws, which we decided would be more efficient considering the materials we are using.

In addition to this, we have used thin wires and carved out sponge to create the ears for the Hare, so that they have enough mobility and stability to be used as a form of expression for the Hare. Whilst also attaching extra wires to the head to make expressive eyebrows as to not rely too much on the ears for the characters performance.

We have also began to experiment with using wool as the “fur” coating for our characters. by simply unreeling the wool and cutting it to a short enough length and then proceed to stick it around the visible parts of the characters (their head, feet, hands, paws, legs and neck) using super glue. To tame the “fur” slightly we will be using hairspray, although not too much as allowing it boil throughout takes will bring a more lively performance.

Furthermore, we have begun to work on some props for our film, such as the Hare’s bed. We have assembled this by using cleaning sponges which have been glued together using a hot glue gun, and also glued some coffee stick stirrers to the bottom in order to make the bed more stable.

As well as props we have begun thinking about making our actual set. For the floor, we will be using lollypop sticks glued together to mimic wooden floorboards. Here is a sample we did:

As we have chosen Edgar Allen Poe’s famous ‘Tell tale heart’ for our film adaption we found it fitting to honour his gothic style. To do this we have adapted the story to appear as a children’s fairytale – but going very wrong, resulting in brutal murder between a childlike hare and a crazed unstable fox.

Our main aims are to unnerve the audience and build tension to an almost palpable level through our oddly charming character designs, taking inspiration from classic children’s media such as Fantastic Mr Fox and Beatrix Potter’s illustrations, and a decaying 19th century environment. To most effectively convey our narrative to the audience we have chosen not to show the graphic details of the murder but instead, show just enough to let the audiences mind wonder. Using film language and cinematography (for example; extreme close-ups and a limited yet growing soundscape), we will fully immerse the audience in our story- going by the logic, the less that is seen, the more possibility.

One way to do this is by reflecting each characters intention through their design – hence why we have chosen the Fox and Hare, two natural enemies.

Following the cunning fox through his descent into madness, his design only foreshadows this. He wears a fitted fox hunting outfit which both raises questions about his morals and gets progressively damaged much like his own deteriorating mental condition as he devolves back into an animalistic state. Of course, this drives him to kill the old hare, he once cared for.

The Hare, on the other hand, holds many shared traits to an old Victorian doll, beloved by all. His design also goes back to folklore in which a broken hearted maiden haunts her unfaithful lover, a little like the hare pining over the murderous fox. Even his draping nightgown links clearly into these ghost-like tales and gives him a sense of childlike vulnerability.

Finally our set plays a key part in this as this is where the audience can gather key information about the lifestyle and personality of our two characters. Much like the start of their picturesque lives, we have put them in a 19th century room full of decaying decadence. A key reflector of their story and mental journey. Alongside the cinematography, lighting and colour theory can create a specific mood quickly rather than verbal dialogue. Due to this, we have decided to use warm earthy colours such as reds and browns to decorate the room. The earthy tones are extremely reminiscent of death and decay while making a place feel rather pessimistic and grounded – the perfect environment for our murder.