Research: Questionnaire Results (Miss. B)

Results From Questionnaire

After collecting my results I analysed the majority of them, after creating graphs to represent the data. I talked about why I asked a question and how this relates to my personal ideas and opinions on how to produce a thriller. This is important because both the public and the makers of a production should be satisfied, so a balanced preference on both sides is most ideal.

Conclusion: This research has thoroughly helped me determine what I will actually do - specifically and generally. For example, generally, a 15 thriller would strike up lots of anticipation. Specifically, members of the audience will sub-consciously feel more in tune with the main character if they are a female. These assumptions are based on questions from my own research. 

Research: Questionnaire (Miss. B)

Questionnaire | Thriller Specific

Before producing any kind of product intended for the use and entertainment of the public, there needs to be a general idea of the target audience. For instance, a thriller movie typically attracts people either aged 15 and over or 18 and over, with an interest in the actual genre. There are more personalized opinions from people about thrillers, rather than just if they like that kind of movie or not. This is why a questionnaire is relevant toward everything about the production of a movie, including it's conventions, connotations and symbolism. Those are just a few subjects which you can carefully embed into a questionnaire through some interesting thriller-related questions. These results are necessary because the potential viewers of your final creation will most likely be more or less the same ones who answered the questions. There is no point in making something for the public if there is no notion on what they want, don't want and what they generally expect. Everything that gets collected from a questionnaire is primary research. 

There are three main types of questions that can be included in a survey - 

1. OPEN - the person can write their answer using specific detail
2. CLOSED - a simple yes or no
3. MULTIPLE - different set options, sometimes using time frames, sometimes allowing more than one answer

Demographics are also very important. This is an array of questions that cover personal information, such as age, gender, occupation & ethnicity. These questions appear in the beginning of a questionnaire. It's important to include this because direct questions can assist with warming up to the whole survey, but also determine something like the general age group of your audience which can help you with age classification. 

Advantages & Disadvantages of Questionnaires 

Advantages

• You can collect general as well as specific data
• You can ask whatever questions you want
• There are open, closed & multiple questions which make it interesting
• Sometimes questionnaires offer a reward for completion
• You can create professional-looking work to represent results such as graphs

Disadvantages

• Results can be limited due to things like location of survey or amount of people you ask
• People may not be truthful
• Options on a question might not suit an individual's answer
• Questions can be confusing if time frames overlap 
• Opinions change between the time you take answers and the time a movie has been released

My Questionnaire

1.        What is your name? _________________________________________

2.        Are you a MALE or a FEMALE?

3.        How old are you? 10-15  |  16-22  |  23-27  |  28+

4.        Are you a STUDENT or EMPLOYED or RETIRED?

5.        Do you enjoy watching thrillers? YES  |  NO

6.        Do you prefer a 15 or an 18 thriller?

7.        If a new thriller were to be made, what would you want? ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

8.        What would you expect? ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

9.        Do you get a chilling response when you watch a thriller? YES  |  NO

10.     What do you think is the most common dilemma in thriller movies? ___________________________________________________________________________________________________

11.     Do any of these thriller aspects offend you?  RELIGION or SEX & NUDITY or DRUGS or PARANORMAL ACTIVITY or CONTROVERSY or CULTURE or VIOLENCE or RAPE

12.     What is your opinion on oppression/discrimination/persecution within thrillers? __________________________________________________________________________________________________

13.     Is censorship important & what would you like to be censored? ______________________________________________________________________________________________________________________________________________________________________________________________________

14.     Should there be any languages other than English spoken in the newest thriller? Specify. _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

15.     What particular genre of music would you like on a thriller soundtrack? POP or ROCK or INDIE or SOUL or JAZZ or SCREAMO or ALTERNATIVE

16.     Does the plot of a thriller seem more appealing when distributed in an INDOOR area or an OUTDOOR area?

17.     At the beginning of a thriller, do you prefer NORMALITY or DISRUPTION?

18.     At the end of a thriller, do you prefer a SOLUTION or a CLIFFHANGER?

19.     Which of these personalised character themes would you be most interested in?  DEPRESSION or MADNESS or SEXUALITY

20.     What kind of a structure suits a thriller – CHRONOLOGICAL or UNEXPECTED? Elaborate why. _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

21.     Should the main character be GOOD or EVIL?

22.     Should the main character be MALE or FEMALE?

23.     Are the victims of thrillers usually MALE or FEMALE?

24.     How many friends or family members do you know that watch thrillers?  0-5  |  6-9  |  10+

Conclusion: This research of questionnaires has been beneficial to me because previously I could not see the importance of collecting data on a person's opinion, if by the end you choose what your product is like. But making my own questionnaire has taught me that it's a massive teamwork between you and the public, the decisions are a mixture of everyone's wants & needs. For that reason I think it is important to make a survey as interesting and diverse as possible which will keep your candidates interested in taking the time to answer. They also need to be fairly easy and straight-forward, checked for grammar and spelling so that they look legitimate and professional. 

Research: Film Censorship (Mr. S)

Film Censorship

Film Censorship in the UK is regulated by the BBFC (British Board of Film Classification). Their role is to protect the public from anything offensive of potentially harmful to an audience. An example of this is a rape scene. Some viewers, particularly the young or victims of such an idea, could be upset by this. Thus, it could lead onto a public disturbance. 

The BBFC decide these three main factors:

• If it should be released - some movies are predicted to sell while others may be deemed as to not be successful.
• If it should be banned - some movies are banned from being released to the public due to major complications such as lack of a plot twist or the prediction of a public disturbance.
• If it should be censored - if a movie isn't banned, then some parts may be censored out to make it suitable for the public.

Censorship is when a film is revised due to the context it shows. The BBFC have a final say on what gets censored, regardless of what the Director says. However, their requests for change are rarely unjust as the purpose is for the protection of vulnerable members of society.

What gets censored? What exactly is it that is missing from the final cut of a movie in the cinema?

•                        violence

•  graphic representation & realism
  
•             corrupting the young
  
•                     controversy
  
•                    sex & nudity
  
• sexual violence
• religion
• class
• language
• drug abuse
• culture
• race
• true events

Censorship includes the act of a film being CUT or BANNED. Cut means editing or deleting whole scenes for the protection of the public. Banned means a film taken completely away from the cinema due to indecent or harmful material. The difference between the two is that cut films make it into the cinema, banned films do not.

An example of a movie BANNED from cinemas is Grotesque. A 2009 Japanese splatter horror; the film is heavily criticized for a lack of plot or narrative and raw scenes such as eye amputation, which may cause offence or disturbance between viewers. It has been banned in many countries including the UK.

Forna & Kemode

There are various opinions toward censorship, both negative and positive. Some people campaign FOR censorship whilst others campaign AGAINST it. In 1999 Channel 4 broadcast a short season of programmes about censorship, as well as some controversial films. The season included two short programmes, one advocating censorship and one challenging it. In Don't Look Now the writer, journalist and broadcaster Aminatta Forna makes the case for censorship. In Eyes Wide Open, the film critic and broadcaster Mark Kermode makes the case against.

• Don't Look Now: A case for censorship (Aminatta Forna)

Forna begins by arguing that 'In the adult world of mass media and mass audiences we're beginning to recognize the power of words and images to harm'. By this she implies that the growth of freedom moves at the same pace as the growth of responsibilities associated with those freedoms. 'If my right threatens the freedom of others then it can't be an absolute right and since the 1976 laws have recognized that argument in terms of racial hatred. Allowing some groups to use their freedom to stir racial hatred removes the freedom of minorities to live without persecution.'

Forna evidences this with the Race Relations Act and BBFC. She criticizes their 'protection' for the uncut release of Romper Stomper (Geoffrey Wright, Australia, 1992). A film based on a group of skinheads who oppose people of ethnic background into their neighbourhood. Within the movie are scenes of racial violence, accompanied by rousing music. Forna describes this as 'giving the movie the glamour of a pop video' and a 'cult movie'. She also comments upon the perspective the audience is made to see - 'our interest lies with the skinheads - we hear their philosophy, understand their fears, engage with their lives and relationships', and challenges the filmmaker in portraying the opposed as less 'human', with less characteristics, and so viewers are manipulated into a sub-conscious agreement with the skinheads as they are more likely to relate with. In addition she compares the plot of the movie to the reality within her own neighbourhood. 'I live only a few miles from where Stephen Lawrence was murdered', a factor that could encourage offence to certain individuals who watch Romper Stomper, and the influence upon potential racial abusers. Forna would agree to this film being completely banned from cinemas by the power of the council.

Forna argues her case further with a much earlier movie based on racial hatred, implying that the media has undergone little change in terms of attitudes toward censorship. 'But racism in the cinema is hardly a new issue'. She describes Birth of a Nation (D W Griffiths, USA, 1915), a film based on black men lynched for unjust crimes. She claims that the approval of this would encourage the persecution of a black man near the cinema that it would be shown in.
With her attention focused on images, she talks about how images have the power to create desires and allow us to associate ourselves with the characters. She evidences this with an episode of Eastenders in which one character tried to commit suicide, in relation to the rising number of attempts in real life. 
She also mentions sexual violence. Society looks down upon acts such as sex with minors, but movies are thought to encourage this and 'break down' the norms and values of a man who, by instincts, would otherwise not commit such a crime. In reference to a rape scene from Straw Dogs she claims that sexual imagery no matter how violent or 'wrong' is enough to arouse a member of the audience and eventually lead them into creating a real-life event of the scene as repeated violations in media begin to affect a person psychologically. Though she agrees that movies aren't the only cause of sexual violence, it is a factor which is why she believes in censorship.
Forna concludes by saying that setting limits on the box office is a part of responsibility - so as well as protecting viewers from themselves and others, it's a part of adult life to take on the responsibility of censorship.  She raises the issue of new technology making controversial scenes seem real to the eye. And that everyone has certain potentials but it is an absolute need to lock away those desires because law and society seems to not be enough.

• Eyes Wide Open: A case against film censorship (Mark Kermode)

Kermode, on the other hand, argues against film censorship. He says that censorship creates the implication of being 'an idiot, stupid, weak, easily led and unable to distinguish between fiction and reality'. His argument is based on the fact that censorship removes privileges of minutes of footage, or understanding on scenes.
His theory suggests that there is a fear of freedom and responsibility, then goes on to blame the BBFC for censorship. Critisizes the BBFC for looking into specifics when the law is 'open to wide interpretation'. 
He also disagrees with the idea that uncensored consensus porn corrupts the audience. Kermode says he has met many fans of exploitation cinema who hated I Spit On Your Grave - 'It appalled them but it didn't corrupt them'. 
Taken into consideration is individualism. Watching the same films isn't seeing the same films. A response to a film is personal to oneself which further leads him to question the censorship for the whole audience.
Kermode notes that cut films are the 'equivalent of watering down all alcohol available in off licenses on the basis that you might be a lousy parent who allows kids open access to the drinking cabinet'. And as an example, claims that even the cut version of The Evil Dead is bound to offend so censorship makes little, if none at all, difference.
Cutting and diluting also may put a film at risk of portraying a completely different meaning. Using Portrait of a Serial Killer as an example, the initial idea of first-person killer perspective was abolished by the BBFC and instead some reaction shots made it.
Interestingly he raises the argument that it's not only what you visually see that affects an audience's response. In Rupert The Bear, the off-screen death is magnetized by a strong storyline and powerful scene, which did not need a visual imagery. Censorship can't protect viewers from the art and literature embedded into the film world.
There are three solutions toward censorship that he raises awareness of:

1. To accept the fact that the idea of policing the effect of movies at some kind of national level is impossible
2. Get beyond the idea of obscenity and accept that there is no such thing as a provable tendency to deprave and corrupt
3. The BBFC should restrict itself to making cuts only when an actual offence has been committed during the production of a movie.

In terms of my own opinion, I am stuck at 50/50 - both cases have some strong arguments. It is true that each individual will respond according to their personal opinion, like Kermode says - but it's also true that generally films came be influential and offensive, and the law is proof of this. Violent sex acts are abolished in our law because they hurt and offend people.

Conclusion: my opening is going to be a 15, so there are not many aspects that have the possibility of causing offence or harm. However, with what I do have in mind (e.g madness) I should look into how exactly these themes COULD have reasons to be censored for. Madness may be a possibility because if somebody has a family member who acts in a similar manner they may feel offended. Also, showing madness as something disgusting could influence a member of the audience to discriminate against mentally unstable individuals. 

Research: Typography (Mr. S)

Typography

Typography, a fancy word for 'font', is how the writing is presented to the audience. When analysing typography, we look at these four aspects:

1. style
2. size
3. letter case
4. colour

Picking the right type of all of these can be conventional toward a specific audience. It also informs the audience of the genre. It's hard to explain why a Comic Sans font makes us think of something like a Disney movie. But from a media perspective, the font looks like untidy handwriting. A trait among children is untidy handwriting, therefore a child will be able to relate and interact with a movie that hints at what they learn in school - handwriting. 

The font of 'Toy Story' looks playful, because they are aligned rather oddly which represents something like building blocks scattered around or the proportions of a child's handwriting. It's chunky and big, appealing to children more because they can ready it with ease. The colours used are a little more complicated; blue is always seen as neutral but red we often associate with love or danger. Gold, however, draws 'winning' to mind, which would imply there is a happy ending.

This font we immediately know is not intended to attract young children. This is because is lacks the colour and decoration that a younger audience like. It's small, so it could be hard to read. The font is rather thin and look a bit like bones, especially because they're white; maybe representing death. It also looks a bit olden and vampires are ancient myths.

This font is very similar to the one of Toy Story but there are still significant differences. For example, unlike Toy Story, the characters are lined up forming neat words. A young audience may be uninterested in something that looks normal or boring. There is no other kind of decoration, and the title itself is beyond a child's comprehension, they won't even know what 'almighty' means.

All three of these examples are in CAPITALS but their characteristics is what makes them conventional to their specific genre. 

Thriller Specific

This font for 28 Days Later is really similar to the kind of font in advertisements for the army. This gives the audience an impression of some kind of war or fight movie. It's actually based on the apocalypse which is indeed a iconic war theme, between humans and zombies, in movies. It looks a bit faded and scratched which could represent  a number of things: the effects of war, or the time it's set in, or the hardships during those '28 days'. Children might not like the characteristics of this font because it is in no way playful or mild, so the target audience at first impression is at least 15+. There is no indication of blood, gore or violence apart from the colour red. The red is also faded, which points a judgement in the direction of 'spilled blood' rather than 'hearts beating', aka love.

American Psycho is a lot more conventional in terms of it;s sub-genre, which we can assume to be a slasher thriller due to the background of blood splattered. The font itself looks quite sophisticated, not elegant, but 'higher class' compared to the font on 28 Days Later. I think this is a running theme with the killer because on the DVD cover he is dressed in a suit, so the font suits him. The blood is a major contrast to this font, as if one of the two doesn't belong there. When I see this font I think of offices and order. The audience might expect issues to arise such as corruption or class. It is obvious that this movie isn't directed toward children because of the blood and the word 'psycho' - something that is hard to fully grasp the meaning of even as an adult. 

The Devil Inside font looks as though 28 Days Later and American Psycho has been morphed. There's the smart look which could for this movie be translated into maturity, as there's an aged woman right next to it. Immediately we know that this is to be determined for adults. The reference of the devil is religious which can be scary or misunderstood by a young person. There is also the 'faded' look, like 28 Days Later. The effect is actually all over the image. Again, it could represent maturity which is basically age - and many stories of the devil/satanism are extremely old. I think the most interesting part is the second D in reverse. That could be a mirror effect, perhaps representing a split-personality? The actual title supports this theory, 'The devil inside'. Use of colour is like the previous two examples and many other thrillers.

What will I consider?

I like the look of this font because it starts off normal then is becomes distorted. The personalized character theme I want to include in my opening is mental health, specifically madness, so that could be really conventional to my idea. However I'm not sure about using the colour red because my opening will be a 15, and red for thrillers always foreshadows death which is unlikely to be included in my idea, simply because of the age classification.

 I think this could be a stronger choice because it's all one colour, white, and contracts with that black background. This would be majorly effective for my opening because we plan to have most of the scene in a dimly lit, almost pitch black room with a bit of lighting on the main character. More significantly, the other character in our ideas will actually be dressed in white which is what the font would contrast. The style of the actual writing is also convenient because one of my sub-genres is sci-fi, and fonts like that can typically be associated with medical documents.

I like this font because again there's the idea of distortion. The space in between the lettering is uneven, adding onto that 'mentally unstable' idea. The style of the font might be seen as weird for a thriller, but because the woman in my opening is going to be pregnant, that style could be used to represent the theme of children. However the trick with this style is that it makes us think of ominous children like in The Unborn and Orphan, rather than normal and happy children like in Toy Story.

Conclusion: What will I use and why?

I'm definitely going to use a distortion effect to represent 'madness'. I don't want to use the colour red because I am still unsure of if blood will be a part of our iconography. And according to the style, I think The Ring font is the most effective in relation to my plot.

Research: Age Certificates (Miss. B)

Age Certificates

 
The BBFC (British Board of Film Classification) are a highly expertise and experienced company who regulates moving images. They serve the social function of society to advice and protect viewers. But who can these be defined as? Naturally, children are thought to be vulnerable and cannot make their own decisions. This is why adults are advised on the protection of the children. The BBFC do this by providing public information to make appropriate viewing decisions for themselves, and those in care. Their main intention is to shield society away from the effects of viewing potentially harmful or unsuitable content - while respecting the adult freedom of choice.

An adult may be seen as an irresponsible parent or carer if they allow children in their protection to view content deemed as unsuitable for them. Often, children are influenced by certain themes in a film such as bad language. Too often we hear our younger siblings or schoolmates speaking with foul vocabulary. On a more serious note, a person can be heavily influenced by extremities such as rape or murder scenes, regardless of their age, This is why the BBFC regular films using 'age certificates'. These are the guidelines as to who is too young to watch a film, who is old enough, and where you stand. There are a variety of age certificates which progress higher depending on the maturity of a film.

• U (Universal) It is impossible to predict what might upset any particular child. But a U film should be suitable for audiences ages four years and over. U films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.
• PG (Parental guidance) General viewing, but some scenes may be unsuitable for young children. Unaccompanied children of any age may watch. A PG film should not disturb a child ages around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children.
• 12 The content may have some controversial elements to it, but on the whole, there shouldn't be any discrimination, drugs may be touched up but NOT promoted, violence can be displayed but cannot dwell on injury and pain, there may be use of frequent bad language and nudity can be shown but only where appropriate.
• 12A The 12A category only exists for cinema films. No one younger than 12 may see a 12A film in a cinema unless accompanies by an adult, and films classified 12A are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. in such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.
• 15 These categories are awarded where the material is suitable, in general, only for those ages 15 and over. Works classified at these categories may upset children under 15 or contain material which many parents will find unsuitable for them. The 15 category exists only for video works, no one under 15 may rent or buy a 15 rated video work.
• 18 At '18', the BBFC's guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Material may touch upon criminal law, and display criminal offence. Violent or dangerous acts, illegal drug use may be shown, but should not cause harm to public health or morals. This may include portrayals of sexualised violence which might, for example, eroticise or endorse sexual assault. Explicit images of sexual activity can be shown and bad language can be used.

It is important to bear in mind that the trailer of a movie, and the final cut, can earn different certificates.  Even after a movie is shown in cinemas, the BBFC may still leave a movie pending on the decision.

The trailer for Paranormal Activity 5 achieved a 15 certificate. This is because of supernatural disturbances having the possibility of causing children trauma or nightmares.

Bareback Montain was also rated a 15 due to brief viewing of weapons, alcohol, and themes such as sexuality, controversy, love and mild violence.

High School Musical 3, on the other hand, was thought by the BBFC to deserve a 12A rating. This is because of themes like love and coming of age that children lack experience and understanding in.

The 12A Rating

12A is a fairly new age rating that was thought to be needed, by the BBFC, as a result of Spiderman (2002). Complains from viewers included the opinion that Spiderman is too violent for children - take for example the fight scene below, which has little narrative and plot, instead focuses on each of the characters intending to hurt the other, while putting the train passengers at risk of enduring some of the fight. PG was seen as a controversial rating because of the theme of violence and possible effects of influence, so it was rated a 12.

However, other viewers argued that Spiderman is indeed a childhood comic, so those who followed the comic would be ridden of a privilege of connecting with that Superhero, typically seen as a role model if they weren't allowed to watch the movie. After taking this into consideration, the BBFC created the 12A rating - so children under 12 can watch it ONLY when accompanied by an adult. 

Thriller Specific

Thrillers, in general, tend to get an age rating of either 15 or 18. This is because a thriller cannot be a successful thriller without a few mature themes unsuitable for children. For example, Scream is an 18 due to the 'slasher' sector. Involved in this motion picture is death, violence, bad language, and occasionally sexual references. All of this could be found in masses of other thriller specific movies. Some argue that there is a fine line between what makes a thriller movie a 15 or an 18, just because it's a thriller and intended to thrill no matter which group you fall into. 

What age certificate would I give to my thriller? I would give it a 15 because in my plan I have included the themes of mental health, religion, hospitality and paranormal activity. I believe that these themes can be viewed by both groups, but there is nothing too extreme of offensive to limit my audience to 18+ only.



Conclusion
I have learnt that the intention of age certification is to protect the young generation from anything potentially harmful or offensive. However, sometimes it's seen as controversial. For example, Spiderman was originally set to be a PG but people argued that it was hardly appropriate for exceptionally young children. There's also the idea of being influenced, but chances are, a child won't know what a possibly risky concept may mean or they will already know right from wrong due to their parents. Of course there are cases when the media affects a person's mindset for the worse, but there seems to be more spotlight on the negatives than the positive. Media can work with parents, educating them on morals and norms. When suited with an appropriate motion picture, a child  can have fun and feel happy. They can also develop the recognition of signs of emotions such as sadness and how to handle that kind of situation, due to indirect interaction with the characters. 
Adults can be influenced too. I think that adults are at a larger risk because their understanding of the media is far more complex than a child's and thus would quickly learn how to turn a rape scene into a real-life crime scene. Adults have the freedom of choosing what to watch, and the general freedom of life. I think they have more opportunity to make bad choices. Children however are protected and guided on where to go by their parents. Their main influence, in fact, are the parents as they decide when it's time to turn the TV off.

I agree that there is a certain degree to what a child should be allowed to watch. My opening includes issues such as madness, paranormal activity, religion, trauma and mild reference of drugs. Children may be scared by these aspects or driven to ask their parents what something means, which could cause a disturbance in terms of personal parenthood. I am going to award it a 15 because I believe someone of that age has understanding on the referenced aspects and less of a sensitive response than a child.

Research: Opening Credits (Mr. S)

Opening Credits

Opening credits are the sequence of acknowledgements toward who did what in the making of a film. They are short and run simultaneously with special footage to accompany the credits as the viewer waits. Credits are there as a form of promotion as well as for legal purposes. the written information is presented to the audience, serving as a basis or foundation on how to judge the film - depending on credits such as how famous the actors/actresses are and what movies they have previously starred in. 

The opening credits are effective in thrillers when merged with sound to create tension and fear within the audience. They can create a more meaningful response when the images do not  make complete sense, stirring question and interpretation between the interaction of people watching in the cinema or together at home. 
Another important factor of opening credits is that they are essential information to connect with the audience, so they have a brief understanding of the production.

Traditionally, a set of opening credits flows in this order:

• name of the studio e.g Universal, Dreamworks, Warner Bros
• name of the production company 
• name of the product or
• name of the director e.g "a film by..."
• starring e.g main characters played by famous people
• the title (name of the film)
• name of the editor
• name of music composer 
• name of writer (storyboard)

Often, other credits are included such as casting, photography, co-producers, co-executive producers, executive producers, and costume.
So why does it appear in this order? One could argue that it goes as level of importance. The name of the studio is shown first because they are the ones who paid for the production of the film; they 'own' it. That's also an immediate alert to our brains on what type of movie this is. For example, Dreamworks release many films for a young audience. 
Other movies may take on a different route, because some people think the general order shouldn't always be the same. It could also be conventional to the genre depending on this order.

An example of this is Se7en. The sequence goes as:

company, producer, director, actors, title, actresses/actors, title, actresses/actors, casting, music, costume, editor, production, photography, co-producers, co-executive producer, executive producer, writer, title, producer, director 

I find it interesting how some credits are repeated, when in a traditional order, this doesn't happen. It's intention may be to emphasize that this film is unlike any other and you are about to embark on a unique viewing experience. Quite so, Se7en inspired many future thrillers to come. The actors and actresses' names are spaced out during the whole 2 minutes and 9 seconds. I would call this a teaser toward the audience as, naturally, after seeing a movie once we would like to find out who the characters are. The actual actor playing the character of the antagonist (Kevin Spacey) isn't mentioned at all. When noticing this, people are encouraged to look it up. So in a way, the experience doesn't end once the story does.

Conclusion
I think I would follow in the example of Se7en - spacing out the credits to look like the first moment of tension, as typically viewers always wait for them to finish. I'm not sure how well this would work with few people in a group though, so they may just have to be quick and to-the-point.