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This is my adjusted script with potential shots and visuals outlined, so my vision for the film is more clear.

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My notes for the director mainly relate to the performances of Pinkie and Rose being very clear contrasts. I think Pinkie's character should be portrayed as very cold, yet cunning and manipulative so Rose's reactions to the things he says and does need to be very obvious to the audience; this is because to the audience it should be clear he is a genuinely bad person, and treats Rose badly most of the time, however he is able to make her stay in love with him by manipulating her emotionally and feeding her what she wants to hear, while simultaneously not giving her much physical attention as he doesn't really care for her. Whereas Rose, having completely true intentions always says how she feels, sticks by him through everything and should always be seen trying to have physical contact.

Also as this is a modern take, it is assumed that Pinkie is still part of a gang, however in the modern day he would be a modern day gangster or a 'Roadman' as they are often referred to as. I would suggest getting very familiar with the culture surrounding modern gang culture, if they're not already to make the film authentic - some recommendations would be to watch the show 'Top Boy', and films like 'Blue Story' and the 'Kidulthood' triology.

My vision for this is to make a noir style film, but with all modern content to create something entirely unique. Part of this would be to make the performances slightly over the top, to make something that isn't set in complete realism. Also, the performances in this film will shine through as visually there is less distraction with the lack of colour, so casting needs some serious thought, as if done right, this film could be amazing.

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As I was completely unfamiliar with source text for this script, I went into this with a few ideas after reading the script but I wanted a clearer understanding of the characters and storyline.

I started by finding out who Pinkie was, which led me to finding the book, 'Brighton Rock' by Graham Greene. I realised there were two films based on the book, one in 1947 and one in 2010.

I watched the 2010 version, and it helped me learn about the characters and their motivations. Then I re-watched the key scene that the script is based on several times to see the approach Rowan Joffe (director)  and John Mathieson (DoP) took; this was to draw inspiration but also I didn't want my version to be very similar, as I want to create something entirely new.

I also watched the same scene from the 1947 version to see how they had approached it back then. There were some key difference - mainly the location and that it was in black and white. After watching both several times, I actually preferred the 1947 version, as it felt more dramatic, which i believe partially came down to the B&W.

Once I had the idea of a noir style I knew I had to refresh my memory of 'Sin City' as it is the closest thing to my vision for this film. Now as 'Sin City' is based on a graphic novel, I am aware the comic-esque performances and visuals are very deliberate, and perhaps too much for what I would like to achieve, however I definitely think elements of the graphic novel style should be implemented into this film.

When researching, I also realised a clear trend towards audiences really enjoying and appreciating modern B&W films such as 'Logan', the last instalment of the 'Wolverine' franchise.

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I would like some clarification of the ages of the characters in this version. I have assumed Pinkie and Rose are the same age as in the book, and that Dallow is a young adult. In the 2010 adaptation, Ida is an older woman, however I think she could be a little younger in our version, but still much older than the younger characters.

There were some discrepancies in the script with the spelling of 'Pinkie' so I adjusted them accordingly to the spelling of the title and the original characters name. Please let me know whether the character is in fact to be named 'Pinkie' or 'Pinky'.

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With regards to colour grading and the overall look I envision for this film, I want to take a noir approach as homage to the age of the original book 'Brighton Rock' by Graham Greene, as well as creating a very dark and dramatic depiction of the events in the story.
I want to use very heavy contrasts to make all the shades pop on the screen, and blood, scars and scratches will be the retain colour - of course with a deep red.
Also as the film is set in Brighton, and there's a very iconic turquoise on all the railings and pillars, I think they should keep their colour too.
I definitely wish to take heavy inspiration from Sin City, by making a noir graphic novel-esque version of this story, as I think it brings an innovative and interesting contrast from it's predecessors - Brighton Rock (1947 & 2010). There has been a recent buzz around modern black and white films such as Logan and Parasite which were huge successes, leading me to believe there's a demand for films in this style.
As the film is a modern take, assumed to take place in the present day, the juxtaposition of modern surroundings, clothing with the noir style will create a unique and effective visual drama unlike anything else.
I also think that creating a noir film makes the visuals far more striking and yet less distracting without all the colours, allowing the focus to really be on the characters and performances.

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Since this is a modern take, as I said before, Pinkie being a gangster means he will be a 'Roadman'. There is definitely a stereotypical look for 'roadmen', which is comprised of some expensive trainers, nice tracksuit bottoms or jeans (usually worn sagging down), a hoodie or t-shirt, a long parker jacket or puffer jacket, and a pouch. So for Pinkie and the rest of the younger members of his gang, this is the type of attire I envision them wearing.

Rose will wear simple but well put together outfits as she doesn't come from wealth but is a very presentable individual. For this specific scene she will be wearing a white dress because of their wedding which came before, however it will be a very simple mini skirt dress rather than a proper wedding gown.

Since the film is in black and white, the shades of everyone's clothing from light to dark will reflect what kind of person they are. For instance, Pinkie will be dressed in very dark clothes, whereas Rose will have wear light and bright clothing.

Since Dallow isn't an all the way bad person, and is seen to have certain morals, his clothes will be a dark grey and even have some white accents, or perhaps bright white shoes.

As Ida is older, she will be dressed accordingly to her age, however I'm unsure of her age in this adaptation so I can't comment too much on what she will be wearing. She will wear clothes with patterns though to represent the complexity of her character in comparison to the younger characters who are more simple in their motivations, due to less life experience. She will also have a mix of light and dark shades, since some of her approaches to things throughout the story aren't strictly good or bad.

For the revolver, an old style prop revolver should be used as older guns don't have serial numbers and are therefore the most accessible to people in Britain as they are less easy to track.

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To create a very personal and engrossing experience with understanding characters and their motives, much of the film relies on using closeups, and mid-closeups to highlight each characters performance. It's crucial we see their facial expressions and body language when they deliver certain lines, and also when they react to other characters dialogue. As I said before, the B&W helps to drive focus towards the actors/actresses performances.

For interactions between Pinkie and Rose, I think it would be effective to start with the shots on a straight angle when they're interacting but as the film goes on and Pinkie becomes more aggressive, possessive and dominating, the angle should be lower for him, and higher for Rose, showing his dominant presence over her.

In the scene extract, there's lots of movement with Pinkie and Rose travelling to where they're going to shoot themselves. For this movement, I want to stay focussed on them so as an audience you feel like you're part of the drama rather than just a voyeur. I want to create a sense of unrest and urgency, mainly focussing on Pinkie, and showing distress when focussing on Rose. To achieve this, when the focus is on Pinkie, he will be framed in the 2/3 of the screen, from high angle, where we can see Rose being dragged along behind. Then, when focusing on Rose being pulled along she will be centre frame, so we can see the background moving very quickly behind her.

For the part of the scene where Rose has the gun and is about to put it in her mouth, I want to use extreme closeups to really accentuate the drama and intimacy of the situation. (Refer to the mark-up script for more details)

Zooming will also be used, especially in this given scene as a way to show characters coming to realisations, such as when Ida and Dallow realise what Pinkie is about to make Rose do.

A wide shot will be used to establish location in each part of the scene.

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For the many of shots I will use a 50mm lens as it allows for deep or shallow depth of field, and is also a wide angle, allowing for characters to be in focus in the foreground whilst the background is blurred. In the script extract, this will be used for the mid shots of our characters and some wide shots.

For the shots of Pinkie's face with him dragging Rose along behind him, I will use a 35mm lens to really distort the depth of field and make it deep, to create the feeling of Pinkie being very detached from reality at that point. It also allows the focus to stay on his sinister and deadpan expression.

I am also opting to use only prime lenses rather than zoom lenses as they can cause the images to suffer in quality and distort in unwanted ways.

Since I'm not using a zoom lens, for the zooming shots of Ida and Dallow, I will have to use a steady cam and manually move closer to my subjects.

For the extreme closeups, like the revolver going into Rose's mouth scene (explained in script mark-up) I will use an 85mm lens, as I want a very blurry shallow depth of field so the focus is entirely on the foreground.

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Lighting is key for my vision. As the film is in B&W, lighting will be used to add deeper layers to scenes and characters, even more than in a colour film as the whole frame relies on the different shades created on screen.

For this reason, a lot of lighting equipment will be used to make sure the frame always looks exactly as we want to create the right style and tone in every scene.

As I have mentioned before, I want to use light and dark to present the characters intentions, like in the alley way with Pinkie and Rose. (Please refer to marked-up script)

I want to make sure the light used in each scene is created environmentally so set design will play a big part in the lighting design too.

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I have chosen to use the Sony FS7 as it's fairly lightweight and easy to use. It has the capability to film the high quality shots I need as well as being quite easy to transport.

Along with this I will need a 35mm, 50mm, and 85mm Samyang prime lens.

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Datavision DV-LED600HS

I will need a few of these to light my scenes as I want to, and I've chosen to use LED lighting as it's far brighter and more efficient than fluorescent lighting.

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I will use a Vinten Pro Tripod for the camera.

Also a Manfrotto Fig Rig Camera Stabiliser, so that my hand-held shots are smooth.

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SWIT CM-55C 5.5 Inch Monitor

To review footage during shoot and avoid needs for reshoot days.

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Resolution - 4k
Frame rate - 25fps
Shutter speed - 1/50

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For the part of the script with Pinkie and Rose, I want to shoot on the streets of Brighton, on the pavements along the seafront. I want them to pass areas with the iconic Brighton landmarks and architecture. As the story is based in Brighton lots of the shooting locations, mainly outdoor scenes, should be shot in Brighton.

The benefit of these locations is that aesthetically pleasing as they're very cinematic, and shooting in the real locations in Brighton creates authenticity. Also set design isn't very difficult because we can keep them as they are rather tghan recreating them in a studio.

One of the main issues will be dealing with the public as Brighton is a very busy area, but hopefully it's within our power to be able to shut off small areas from the public while shooting; this does obviously require consulting the council for shooting permissions.

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In my vision, I want an alley way similar to this overlooking Brighton Pier in the distance, however this location doens't exist. Instead I would use a studio to create the alley way, and use green/blue screen to put the pier in the background; it's also crucial to use a studio because I want to control the lighting in a very particular way for this scene as I highlighted in the script annotations.

I think this location works for a modern take as it makes the scene feel more urban, unlike the previous versions, however I envision that Pinkie's death would take place at the pier after some form of chase scene.

As this would be a studio set, we would have full control of everything, rather than filming in a real alley way where the public would constantly walk past. Also as I said, to get the shot in my mind with the pier in the centre of the alley can only be done using green/blue screen.

The downside is that the set design will have to be very good and potentially expensive to make the alley way look believable, and the shot will require some CGI touching up in post to make it look real.

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For this scene, Brighton Pier will be used in the background of the alley way, as it's where Pinkie and Rose met so Pinkie thinks it's romantic if they can see it as they die.

For this scene, as the pier is only used as a background, it may actually be easier to create a CGI model and render a shot, so that the angle is an exact match to how I want it to look; this will of course be more time consuming than just shooting it however, it shouldn't take too long as it doesn't need to be extremely detailed.

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I want to use a nice cosy pub with bar seating, and dining tables and chairs. The pub doesn't have to be in Brighton but if possible, I want to shoot locally for authenticity.

The benefit of using an actual pub is that we don't have to design an entire set, we can just rearrange and add things if we need to.