One thing I've realized about this method of opening is that nobody really cares about the character that or is hurt in the beginning. Crimes in movies are often impersonal and the person on screen is never given a chance to have a personality or any characteristics that will make the audience care about their safety.
I think I have two potential ways to solve this. The first is to have them oblivious to the conflict that is occurring around them. This helps build suspense so the audience becomes actively invested in what the character is doing, almost forcing them to care about the person's wellbeing because of their oblivious nature. This also has the potential to massively backfire and make the audience think that the victim is a complete idiot and that their death is something they deserve for their ignorance.
The second way I can solve this issue is more difficult, and storyboarding further will allow me to see how I want to incorporate it. This method is by developing something about the character that somewhat attaches the viewer to the character. Whether it be a reference to a family member or a mention of somewhere important they need to go(such as checking in on a sick grandma). Incidents such as these are small details that allow the audience to connect with the character that is on screen and it gives them a way to connect to the person onscreen, even if they are only present for the opening and die within the first few minutes of the film.
I'm thinking the second option is the better way to go since this option allows for a quick reference and doesn't make the character stupidly oblivious. I'm going to spend most of the next class storyboarding and the next blog post will probably talk about various things in regards to how I plan to maximize my time in the opening to allow for the most compact yet effective way to open this crime thriller.
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