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AS FILM OPENING: EXCEPTIONAL

Preliminary Task: I've Been Expecting You

30 Sept 2010

Examining Todorov and Levi-Strauss's Theories

Todorov
Girl, Interrupted


1. The protagonist of Girl, Interrupted is Susanna Kaysen, an 18 year old girl, played by Winona Ryder. This is shown by the first shot of a character being a CU of Winona Ryders face, which lets the audience know that the character is important. In addition to this, the first line 'Have you ever confused a dream with life?' is a V/O by Ryder, which makes the audience feel that they can read her thoughts, allowing them to identify with her.

The antagonist of the film could arguably be seen to be the psychiatrist with whom Susanna speaks following the A&E visit, or her mother, due to their clearly made decision to submit her into a mental institution, but as the film continues, the antagonist is shown to be more of a concept; the speed at which people were put into mental institutes in the 1960s, and Susanna's self-antagonism. For the most part of the film, a false antagonist is portrayed in the character of Lisa Rowe, played by Angelina Jolie, a destructive and controlling in-patient who Susanna meets in the ward, who is briefly seen following Ryder's initial CU.

2. The Equilibrium for Susanna is a world where she cannot easily identify with anyone. She is a self-abuser - specifically a 'wrist banger' and sleeps around, noticeably with the husband of her mothers friend. The opening sequence contrasts the equilibrium with events that happen further along in the plot, but examples of the original situation include a scene in which Susanna is thrown down on a hospital bed filmed with a hand-held camera to provoke a sense of panic. Very quick cutaways to CUs and MCUs of doctors make the scene feel rushed and make the character seem isolated amongst other people. In the second flashback, Susanna is at her father's party, but is under dressed in a casual checked shirt which again isolates her from the social and fashionable tone of the party. Repeated cutaways to the friend's husband directly addressing Susanna indicate that he is relevant to her character, and make the audience curious as to his relevance. As the taxi pulls away, there is a backwards pan of Susanna looking out the back window watching the street get further away, which connotes that she is being separated from her normality; her equilibrium.

4.The song that is played in the opening shot is 'Bookends' by Simon and Garfunkel:
Time it was, and what a time it was, it was
A time of innocence, a time of confidences
Long ago, it must be, I have a photograph
Preserve your memories, they're all that's left you

This indicates that the film will take place over a long time period (18 months) as it is reflecting on past events. The opening shot is of a silhouette of bars across a window which suggests confinement, which is supported by the psychiatrist sending Susanna to the mental institution. The dark lighting of the flash-forward suggests that the characters will be in a depressing, melancholy environment. The key reasons that are given for sending Susanna to Claymore is that 'You need a rest' and 'You're hurting a lot of people' which indicates that part of Susanna's journey will be to become more relaxed in a typical American setting, without making other people (mainly her mother) ashamed of her behaviour. After being unable to describe her feelings, it is also implicated that she will learn to understand herself through her experience at Claymore.

5.A new equilibrium is formed when Susanna finally chooses to accept the help that Claymore offer, and uses her diary to understand her thoughts on herself and on life. When she leaves, this completes the creation of her new equilibrium, as she again has no support from an institution, but now can have a happier and healthier life.

Levi Strauss
V for Vendetta
Click video to see full screen

1. V for Vendetta is an action/sci-fi/thriller hybrid. The action is shown early in the opening sequence where the protagonist Evey is attacked by a group of men but is rescued by V, a self-described 'Man in a Mask'. The fight sequence ensues, featuring the government officials attempting to use guns whilst V triumphs over them using a traditional sword. The sci-fi aspect is briefly alluded to when Lewis Prothero, (the ranting chat-show host) mentions the downfall of the United States, showing that the film is set in a possible near-future. The curfew announcement through the loudspeakers, though not strictly displaying modern technology, show how technology is used to drive the government's ideals into the minds of the people. There are some more obvious genre signifiers for the thriller genre, as the company logos are shown in sepia, connoting a sense of foreboding, and the music is dark and ominous. Many of the features of this dystopean setting are deliberately placed to make the audience question the film, for example the reason behind the curfew, the reason for the strong hatred against minority groups and the identity of the 'imposter' that V claims stands in 'Madame Justice's stead'.
2. The main characters are Evey, a young woman, and V, a mysterious, rebellious masked man. The as-of-yet unseen antagonist is Chancellor Adam Sutler, leader of the totalitarian government. Evey and V are seen to initially appear very different but similarities appear later in the film. V is hidden behind his wig and mask which make him appear slightly frightening, whilst Evey appears much more conventional, a pretty woman with curly brown hair who wears make-up. However, V, Evey and Sutler are all introduced as they put on a mask - V has a literal disguise, Evey changes her face using lipstick and Sutler at present hides behind the image of Prothero. As V and Evey simultaneously prepare to go out, both are seen putting on shoes. Evey again wears a common, stereotypical pair of heels, whilst V wear large black boots that cover up his legs, again making him come across as a concealed character. Evey then puts on a necklace, putting an emphasis on beauty and appearance, whilst V stores various weapons on himself, indicating a violent, confrontational nature. Both sets of shoes are seen walking in opposite directions, connoting that they are on different journeys, now and through the course of the film. When Evey is attacked, she begs the 'Fingermen' for mercy, in contrast to V, who instinctively pulls a sword on them, which emphasises the 'fight or flight' differences between the two characters.

3. The main themes of V for Vendetta include Totalitarian Governments and Revolt.
The introduction of the totalitarian government is shown through different social aspects - the television at the beginning sprouts political propaganda, and makes references to actual common culture, so that the audience can identify what could be 'real' in this setting and what could be fiction created by the government. The screen also pays homage to the well-known book and film, 1984. The 'fingermen' are another example of extreme government influence, displaying the violent nature of the authorities.
Revolt is introduced through the character of V and his rejection of social norms. The inclusion of the mask and the wig as props make him stand out from the other characters shown. His dialogue is written to separate him from others also, as the repeated use of words beginning with 'V' show him to have an alternative thought process to others in the setting.

4.  Parallel shots are used to show conflict between the two protagonists - each image is similar to the other, but  always contains a difference that shows the conflict between their personalities. The simultaneous switching off of the TV set by V and Evey creates conflict between the protagonists and the government, which indicates that the government is the antagonist in the film. Later, when Evey is ambushed by the Fingermen, she is afraid whilst they are threatening, showing them to be the malevolent force in the film. V attacks the men, which shows that while V and Evey are the two lead roles, they react differently to situations, which is likely to cause conflict later in the film.

"Anybody can write a film script because it has been reduced to a formula" Dirk Benedict

Independent Research


The secret to film is that it's an illusion"
George Lucas
Storyboarding Examples: Shallow Grave and The Shining
http://www.bbc.co.uk/comedy/mylifeinfilm/storyboards/
Looking at Douglas Ingram's work on storyboarding these two well-known films is a very useful way of seeing how storyboard techniques are applied in real productions. This allows the audience to compare the pre-production work to the final piece and recognise that the planning is significant in providing a high quality composition. It is also helpful in that it proves to the less willing storyboarders amongst us that this is an important aspect of film-making.
How to use Storyboards in a Film Production

http://en.wikibooks.org/wiki/Movie_Making_Manual/Storyboarding
This page is part of the Wikibooks Movie Making Manual, and provides a clear and concise description of how a storyboard  may be used by the director and crew when on set. It also has a section describing the software that can be used to aid the storyboarding process.

28 Sept 2010

Storyboarding

STORYBOARDING


"The storyboard department doesn't talk to the layout department, which doesn't talk to the writing department. They're all jealous of each other"
John Kricfalusi

Why Storyboarding is essential:
  • It helps show the production crew how the director envisages the film
  • Snags and flaws are more easily identifiable when using a storyboard
  • The crew can begin to plan their part of the shot
  • The narrative can be easily followed
  • They can work as a visual reminder of the shot order in post-production
P is for Psycho

  1. The opening sequence for 'P is for Psycho' begins with an opening shot of a mens toilet, followed by a tilt up of a man hunched over the sink. A CU on the side shows some of his personal possessions, which is succeeded by blood from the mans hand flowing down the plughole. He bandages his band and clenches his fist, but his attention is then caught by a boy who has just come in. The man tucks the gun into his belt, surveys the boy, comments 'Bad move, Kid', then a bullet is fired, by an anonymous source.
  2. By using the image of a closed door as the opening shot, the audience can immediately recognise that the character is not going to be easy to understand as a closed door shows connotations of secrets and withheld information.The first character is slowly revealed through alternating camera shots, which gives out a sense of mystery, especially as his actions are currently unexplained, mainly due to the lack of dialogue. The ECU of the man's eyes in conjunction with the under lighting suggest to the audience that he is thinking dark thoughts, which is supported by the first piece of dialogue 'Bad move, kid..' which is a threatening concept, something that can be expected to remain as a theme throughout the film.
  3. If I were to direct this storyboard, to elaborate on the tension being created I would introduce the sound of a dripping tap, and would cut to a ECU of the tap after shot 4, and pan down, following a reduced-speed droplet until it hit the sink and splashed in the blood, which mirrors shot 5. To make the boy's entrance appear more significant, I would make shot 9 an over-the-shoulder shot, taken so that the boy can be seen coming through the door from behind the original characters shoulder, which connects the two characters. When the man tucks the gun into his belt, I would start with a CU of his gun taken in the mirror, and then snap up to a profile CU of the man to catch his expression and show the audience that the action is caused as a result of the boy's entrance. On shot 11, I would also experiment with keeping the ECU, but after the line of dialogue, having the barrel of the gun being lifted to point directly down the lens, to increase fear in the viewer. This, of course, is reliant on the first character actually being the one to fire the weapon.

17 Sept 2010

Tropic Thunder Opening Sequence

TROPIC THUNDER OPENING SEQUENCE
WARNING - Rated 15




"As far as the filmmaking process is concerned, stars are essentially worthless -- and absolutely essential"
William Goldman
Additional Information

Tropic Thunder is a comedy which pays homage to many different films and film genres. The main examples of this are comic recreations of war films such as Platoon, but the opening sequence draws from a much wider source of genres, as it serves as an introduction to the main stars in Tropic Thunder, all of whom feature as movie stars in the plot. In the opening sequence each character is shown in an advert or trailer that they featured in before being called to shoot in South East Asia, where the main action of Tropic Thunder takes place. Each trailer is, at time of viewing, unrelated to the rest of the trailers, as the actors are yet to have met.
One of the reoccurring themes in the film is the habit of mocking over-used film conventions. In the opening sequence, we see exaggerated versions of generic trailers, satirizing the film industry.

Tropic Thunder - Fake Trailers!! - Watch more Funny Videos

Alpa Chino's Snack Ad
CU Mid-Angle. Multiple exclamation points –immature, overexcited message. Together this suggests a mock advert. ‘Available at concessions now’ – implications of a cinema setting. Confectionary names use innuendo, suggesting element of comedy.

Tugg Speedman in Scorcher
MCU Mid-Angle to introduce character. Large gun juxtaposed with baby shows combination of violence and heroism; the two extremes create a comic effect. Volcano in background suggests threat, natural disaster on an overly exaggerated scale. Muscles suggest action genre. Calm expression shows he is unafraid, making him the hero.
Tugg Speedman in Scorcher VI
CU Mid-Angle shows expansion on character. Doubling the guns and babies exaggerates the supremacy of the character, mocking the concept of the hero. Frozen landscape in background suggests new natural disaster to contend with. Bruises on forehead and determined expression shows action genre through signs of violence and intrepidness.
Jeff Portnoy in The Fatties
MCU to introduce new characters. Two contrasting expressions of happiness and disgust suggest comedy. Crude T-shirt print connotes brash, repulsive comedy. Obvious Facial Prosthetics used to mock other films that use this technique, in addition to the symmetric body language and lamps which help show that this is the same actor.
The Fatties Title
CU High Angle shot of Toilet bowl mocks toilet humour by flushing down the ‘film’ title, whilst making clear the theme of the ‘film’ is farts, but also subtly implying it is an awful or disgusting movie. Bubble Writing represents the running theme of fat jokes, and rounded letters are used to appeal to children.
Kirk Lazarus in Satan's Alley
CU Mid-Angle introduces new character to the film. Profile Shot creates suspense as the audience doesn’t fully understand him, indicating a thriller genre. Candles lit, Downey Jr. blowing one out on ‘different’, an overly obvious implication that he stands out, creating comedy. Whilst candles suggest innocence, the blown out image implies he breaks this pattern.
Tobey Maguire's Cameo
CU Mid-Angle. Glowing Font shows special interest, but unimpressive accolade mocks the conventions of trailers. Half of face in shadow, another obvious, therefore humorous, connotation, this time that he has a dark side.
Satan's Alley Titles
LS Mid-Angle with sprawling fields indicates that the plot is isolated from normal society. Grey Abbey with grey sky suggests religious theme but a depressing narrative. Cross on ‘T’ yet another example of an overused method to express theme of Christianity. Sun bursting through clouds suggests change. Two silhouettes apart from the rest suggests that two protagonists are close and share a secret.

Horror Still




"Fear makes the wolf bigger than he is."
German Proverb


My shot is a CU of the top left quarter of a girls face, but this is only in the bottom right quarter of the frame. An open pair of scissors is coming down from the top left corner, pointed directly at the character. The background consists of a black curtain. A shaft of light from out of shot on the top left corner illuminates the scissors and the girls face, but the top and left side of the frame are cast into darkness.

The CU on the girl's eye serves to draw attention to the fearful expression that she acquires whilst watching the scissors, and as the audience focus on her face, this indicates that she is a protagonist, and therefore the audience are likely to share her fear, as they connect with her throughout the film. Scissors are used because an interesting convention of the horror genre is to make everyday items appear terrifying when put to a malevolent use. The marks on the scissors make them appear unhygienic, so using them in a violent manner makes the audience feel disgusted and dirty, which indicates that this is a rather gory horror film. The light shaft is a typical horror convention, because it literally and metaphorically puts both the character and the audience in the dark, causing suspense as the outcome of any given predicament can never be assumed. The direction of the light is also important, as it creates a path between scissors and character, indicating the intention of the unknown hand clutching the weapon.

To create the lighting effect we chose to shoot indoors, giving us the option to turn off the overhead lights and black out the windows. A small studio light was held off-screen to create the shaft. The scissors were brought closer to the camera than usual to make them appear larger and therefore a dominating force in the shot.

Although my initial still plan was intended to create the impression of a more clinical attack, I actually liked the smudges on the scissors, as it changed the tone, creating a more visually horrific image. The framing of both girl and scissors were very similar to what I had previously planned, and I like how the framing is unusual compared to what is seen in lots of non-horror films, as even small visual changes can subliminally make the audience feel uncomfortable, which would be a key intention in a horror movie.

In hindsight, I would like to have decreased the width of the beam of light, as some unnecessary background is caught on camera, which decreases audience concentration on the main action. I would also have made the girl and the scissors take up more of the screen, even if it meant moving the scissors closer to her, because in its current state the shot needs to be tightened up.