Changes to our thriller

 The shots of the protagonist are not intercut with shots of the therapist scene - we only see the therapist at the very beginning of the sequence. This means that now the scenes can be put together as though in a dream sequence or flashback, and the opening flows a little better.

- The script does not mention the antagonist a great deal - in order to create mystery, the protagonist is vague in describing the person watching who is following them. The script also alludes to an event in the protagonist's past that she wishes to forget - something she has done that she regrets. Again, very little detail is offered, in order to create intrigue and gain the audiences interest.

- Instead of a shot of the protagonist's front door, we used a large window at the front of the house. We had the protagonist creep toward the window in a dimly lit room, before tearing open the curtain and revealing the antagonist. The change from door to window came about because, originally, we wanted a smooth tracking shot from the hallway to the door, but when we started filming we realised that this was not entirely practical. Instead we decided to use the front window, which meant we could have the curtains closed - making the room dark - and introduce a "sudden reveal" into the opening - having the protagonist rip back the curtain, revealing the antagonist.

- The antagonist does not write the title of the film on the glass, as the fake blood mixture we used was too thin to draw with. Instead, they slam their bloodied hand against the glass when the protagonist opens the curtains.

- We merged the dog-walking and park scenes together, due to extremely bad weather on the day of filming. The bad weather meant it was extremely difficult to film certain outdoor scenes, and we also wanted to avoid any damage to the equipment. The merged scene now involves the protagonist walking the dog past the park, in the rain, with the antagonist suddenly following behind.

- Rather than an extreme close-up of the therapist at the very beginning of the sequence, we opted to film a close-up of the therapist's head and shoulders. A shot of the therapist's whole face allowed the audience to see her expression, and to begin to identify the character more easily - something that would have been very difficult with an isolated close-up of her mouth, which we had originally intended to do. The shot we chose to do also allows the audience to see the therapist as an authoritative figure, someone sensible and sane - in contrast with the other characters.

[Taken from Abigail's blog. We discussed what and why we changed things and complied a list]