For my Creative Critical Reflection (CCR), I wanted to do something different—something that felt natural, engaging, and fun to watch. Instead of just sitting in front of a camera and answering questions, I decided to present my CCR as a talk show.
Script:
[INTRO MUSIC PLAYS]
HOST: Welcome back to The Late Night Filmmaker! Tonight, we have a special guest—Simona, the creative mind behind an unsettling and thought-provoking psychological horror film. Welcome to the show!
SIMONA: Thanks for having me! I’m excited to be here.
HOST: Your psychological horror film opening is gripping and eerie. How does your product use or challenge conventions, and how does it represent social groups or issues?
SIMONA: Great question! My film sticks to some psychological horror conventions but also flips a few on their head. Typically, horror films rely on loud scares, sudden jumps, and gory imagery. But I wanted to create fear through quiet tension. Instead of showing a violent murder, I focus on the eerie calm afterward—small, unsettling details like the way Christina moves, the methodical way she cleans up.
Another way I challenge conventions is by making the audience put the pieces together. You never actually see the crime happen—you just see the aftermath: a shovel, a wedding ring, a body wrapped in plastic. It forces the viewer to engage with the story, piecing things together rather than just watching events unfold.
HOST: That’s a really unique way of building suspense. But your film isn’t just about scares—it also touches on some deep issues.
SIMONA: Exactly. One of the biggest themes is mental health, especially how it can go unnoticed or misunderstood. Christina isn’t just a villain—she’s struggling with something even she doesn’t fully understand. Her paranoia, anger, and emotional shifts are all caused by an undiagnosed brain tumor.
This highlights a real issue: how serious medical conditions can impact mental health and how often they go unnoticed or misdiagnosed. It also connects to a larger conversation about how women’s health concerns are sometimes dismissed. Luke, her partner, cares about her, but even he doesn’t realize how much she’s struggling. The healthcare system fails her by not catching the tumor earlier, and by the time she gets help, she’s already lost herself.
HOST: That’s such a powerful way to mix horror with real-life issues.
HOST: Now, let’s talk about your audience. How does your film engage viewers, and how would you distribute it if it were a real media product?
SIMONA: The main way I hook the audience is through atmosphere. My film is shot at golden hour, which gives it a dreamy but eerie tone. Right from the start, I want the audience to feel uneasy, almost like they’re waiting for something to jump out at them. This suspense is what keeps them engaged.
Fans of psychological horror will connect with the slow-building tension and the mystery that unfolds. The film doesn’t rely on big scares but instead keeps viewers guessing. That sense of anticipation makes them feel like they’re part of the story.
HOST: And how would you get it out into the world?
SIMONA: I started by submitting it to film festivals like Sundance and SXSW. These festivals focus on indie films and often feature horror and thriller genres. It’s a great way to get noticed and attract an audience that loves unique psychological horror films.
After that, I released it on YouTube and Vimeo, making it accessible to a wider audience. Of course, social media would play a huge role—I shared teasers and behind-the-scenes clips and interacted with viewers to build hype.
HOST: That’s a solid strategy—festivals for credibility, online platforms for accessibility, and social media for engagement.
Closing
HOST: Well, Simona, this has been such a fascinating discussion. Your approach to psychological horror is fresh, chilling, and thought-provoking. Thanks for joining us!
SIMONA: Thanks for having me!
HOST: And to our audience—stay tuned for more behind-the-scenes insights from filmmakers like Simona. Good night, everyone!
[OUTRO MUSIC FADES OUT]
The Tonight Show inspired this decision:
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When thinking about how to present my Creative Critical Reflection (CCR), I wanted something that felt unique, engaging, and dramatic—something that wouldn’t just feel like another basic Q&A. That’s why I decided to format it as a courtroom script, where I defend my role as the filmmaker in front of a jury.
COURTROOM SCRIPT
[SETTING: A courtroom. Simona stands at the witness stand, dressed professionally. The jury watches as the prosecution paces the room, ready to question her credibility as the creator of the film. The judge observes carefully.]
BAILIFF
All rise! The court is now in session. The Honorable Judge presiding.
JUDGE
You may be seated. We are here today to determine the truth behind the creation of the psychological horror film in question. Prosecution, you may begin.
PROSECUTOR (smirks, stepping forward)
Ms. Simona, you claim to have created this film from scratch. Yet, filmmaking is no simple task. Let’s start with the technology. How did you integrate software, hardware, and online tools into this project?
SIMONA (calm and confident)
Technology was a key part of every stage in my film opening, from filming to editing to sound design. I used a mix of hardware, software, and online resources to bring my psychological horror vision to life.
For hardware, I filmed everything on an iPhone, using golden hour lighting for a natural but eerie effect. The iPhone’s built-in stabilization kept my shots smooth, and even without expensive equipment, I made sure composition, movement, and lighting were on point.
For software, I used Adobe Premiere Pro to edit. I had to work on color grading because golden hour lighting changes fast. I also adjusted the pacing to build tension, making sure the psychological horror tone stayed strong.
Sound design was another major component. I pulled sound effects from Pixabay, layering in heels clacking and eerie background music to enhance the unsettling atmosphere.
And finally, I used online research, like YouTube tutorials, to refine my horror editing techniques and find the best ways to frame my shots. Every single tool I used was chosen strategically to create the perfect psychological horror experience.
PROSECUTOR (nods, crossing arms)
Impressive. But skill matters just as much as tools. Tell the jury—how did your production skills develop throughout this project?
SIMONA (leans forward, passionate)
At the start of this project, I had some experience from Film 1 and 2 in middle school, but this was completely different. Back then, I followed structured assignments—this time, I had to create a full film on my own. That meant making creative decisions I’d never made before.
One of the biggest challenges was set design and prop-making. Before, I worked with whatever was available. But for this film, I had to build and arrange props to fit the psychological horror vibe. Every detail had to feel intentional.
For example… I had to make a dead body. (pauses dramatically, letting the jury react)
[MURMURS IN THE COURTROOM. The judge bangs the gavel.]
JUDGE
Order in the court! Continue.
SIMONA (smiling slightly)
That’s right. I had to figure out how to create a realistic-looking corpse while keeping everything within my film’s eerie aesthetic.
Another huge skill I developed was sound design. In my past projects, I only used basic audio. But this time, I learned how to layer multiple sound effects in Adobe Premiere to build suspense. The mix of eerie background noise and the sound of heels clacking made the scene feel immersive and intense.
Most importantly, I grew as an independent filmmaker. I wasn’t just following instructions—I was building, designing, and crafting every element. My cinematography, editing, and sound all improved because I had to push myself creatively. This project forced me to go beyond what I already knew, and in the end, it made me a much stronger filmmaker.
PROSECUTOR (pauses, then nods)
No further questions, Your Honor.
JUDGE (looks at the jury)
Ladies and gentlemen, you have heard the testimony. The evidence is clear—Ms. Simona did not just make a film. She crafted an experience through technology, skill, and pure creative vision.
This court is adjourned.
[GAVEL BANGS. FADE TO BLACK.]
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