Once we’d decided on the outline for what we were then calling ‘The Stalker Film for DAVSS’ (which we now just call “The Monster”), the next stage was the storyboard.

It was important to create a sense of tension in the audience – and a feeling of protectiveness for the woman at the heart of the film. We did this with simple, relatable character design and a recognisable setting, but then showing through her actions that this woman is not comfortable – her keys poke out from between her fingers, her eyes dart back and forth across the path. She is expecting something bad to happen. Something bad has happened here before.

When she starts to run we switch from a flat shot to a high angle, throwing the audience off guard and asking the question who is behind the camera?

Then, we see her in close up, to fully absorb that her face is etched with worry.

When the stalker appears, our concern was making him seem completely normal – it is her reaction to him that reveals how he makes her feel. This was important, because one of the common reasons given for not reporting stalking and harassing, is that the perpetrator ‘seemed like a nice person’ or the victim was afraid that they would not be believed. We wanted the audience to understand that, if they are scared of someone else, then they will be listened to if they can find the strength to report it.

We did this again with simple, relatable character design. The man is not intimidating, he is not noticeably bigger or stronger than her, and he does not have a knife or weapon; but she immediately makes it clear that she is afraid, and yet he continues to act in the same way.

The film ends when she picks up her phone and reports the stalking – the camera staying on her face as she walks away from him, showing her strength, and his diminishing power over her.

Now watch the whole animatic, complete with Sylvester McCoy’s voice over and placeholder music track: