Showing posts with label Titles research. Show all posts
Showing posts with label Titles research. Show all posts
Monday, 17 March 2014
Le Weekend
This weekend, I happened to watch 'Le Weekend' with my parents, staring Jim Broadbent and Lindsay Duncan .
We didn't actually make it to the end of the film after stopping midway at my mum's request. I didn't particularly mind cutting the film short as I had lost interest after about 20 minutes, but she explained her reasoning was this:
The dreary grey colours and back-lit rooms the film were shot in made the whole story dull and made it seem slow moving. It had an air of lethargy about it, and the lack of non-diegetic sound in places where there was a dire need for it made it painful to try and concentrate. After stopping, my mum told me that on the 'love film' website who had sent her the film, there was a review from the one other person who had ordered it - completely trashing it.
I thought there seemed to be very long shots, and the camera stayed still for much of the time. It also stayed a long way away from the actors, and often looked from the darkness into a lit room. For a film that was supposed to be watching a British couple try to harness the romance of Paris to fix their marriage, the mise-en-scene was very dull and grey. The imperial suite the couple stay in appears drained, possibly due to a camera filter. Large expanses of cobbled grey road backed with white clouds and the plain clothes of the actors made it genuinely hard to keep interested in what the film had to say.
We will never know how 'Le weekend' ended or if the couple saved their marriage, but Paris seemed extremely unromantic throughout their stay.
Wednesday, 26 February 2014
Disney Case Study - Frozen
Disney's latest animated adventure 'Frozen' is inspired by the much loved tale 'The Snow Queen' by Hans Christen Andersen. The film portrays the relationship of two princesses - one with magical ice powers, one without. After revealing her powers to her people by accident, princess Elsa flees in shame - unaware that her emotions have unleashed an eternal winter on her kingdom. It is up to her sister Anna to find her and stop the plight of the villagers.
Hans Christen Andersen's classic children's tale has been revamped; the classic German fairy story altered for an American audience, complete with a more elegant choice of names: (Gurda, Bulda and Kai become Anna, Elsa and Kristoff).
Production Companies:
Walt Disney Animation Studios
Walt Disney Pictures
Producers:
John Lasseter
Peter Del Vecho
Distributors:
B&H Distribution
Feelgood Entertainment
Legend Cinemas
Forum Hungary
United International Pictures
Walt Disney Studios Motion Pictures
Walt Disney Studios Japan
Walt Disney Studios Home Entertainment
Walt Disney Studios Motion Pictures Finland
Zon Audiovisuais
Directors:
Chris Buck
Jennifer Lee
Writers:
Jennifer Lee
Shane Morris
Chris Buck
Hans Christen Andersen (fairy tale)
Dean Wellins
Box Office
Frozen is the highest grossing animated film ever created.
Several Easter Eggs were placed throughout the film for the audience to find, such as Vanellope's car from 'Wreck It Ralph' and Rapunzel and Eugene from 'Tangled', as well as an anagram using the character's names: 'Hans' 'Kristoff' 'Anna' 'Sven' - Hans Christen Anderson, and published these online to attract a wider audience.
The Nintendo DS game was released in November 2013, before the film was released in the USA. The price is considerably less before the film comes out and the company knows it will be a success, after which the price goes up depending on the reception of the animation by the audience.
Disney and Frozen websites allowed access to trailers, cast interviews, character interviews, games, sneak previews, and songs. The songs 'Let It Go' and 'Do you wanna build a snowman?' were released before the film came out along with the piece of animation that goes with it. These were then available to purchase on iTunes as well as being promoted on Facebook walls and other social networks.
Hans Christen Andersen's classic children's tale has been revamped; the classic German fairy story altered for an American audience, complete with a more elegant choice of names: (Gurda, Bulda and Kai become Anna, Elsa and Kristoff).
Production Companies:
Walt Disney Animation Studios
Walt Disney Pictures
Producers:
John Lasseter
Peter Del Vecho
Distributors:
B&H Distribution
Feelgood Entertainment
Legend Cinemas
Forum Hungary
United International Pictures
Walt Disney Studios Motion Pictures
Walt Disney Studios Japan
Walt Disney Studios Home Entertainment
Walt Disney Studios Motion Pictures Finland
Zon Audiovisuais
Directors:
Chris Buck
Jennifer Lee
Writers:
Jennifer Lee
Shane Morris
Chris Buck
Hans Christen Andersen (fairy tale)
Dean Wellins
Box Office
Budget:
$150,000,000 (estimated)Opening Weekend:
$67,391,326 (USA) (29 November 2013)Gross:
$399,877,967 (USA) (18 April 2014)Frozen is the highest grossing animated film ever created.
Several Easter Eggs were placed throughout the film for the audience to find, such as Vanellope's car from 'Wreck It Ralph' and Rapunzel and Eugene from 'Tangled', as well as an anagram using the character's names: 'Hans' 'Kristoff' 'Anna' 'Sven' - Hans Christen Anderson, and published these online to attract a wider audience.
The Nintendo DS game was released in November 2013, before the film was released in the USA. The price is considerably less before the film comes out and the company knows it will be a success, after which the price goes up depending on the reception of the animation by the audience.
Disney and Frozen websites allowed access to trailers, cast interviews, character interviews, games, sneak previews, and songs. The songs 'Let It Go' and 'Do you wanna build a snowman?' were released before the film came out along with the piece of animation that goes with it. These were then available to purchase on iTunes as well as being promoted on Facebook walls and other social networks.
Monday, 20 January 2014
Oh Brother, Where Art Thou?
Recently I watched the Coen Brothers' 2000 Crime-Comedy 'Oh Brother, Where Art Thou?'
This film follows the journey of 3 escaped convicts (chained together) in search of a treasure that has 4 days before being lost forever at the bottom of a lake. They are pursued by the law, swindled by crooks and seduced by sirens before coming to a holy realization.
The film is set in 1930's Mississippi, a land portrayed as one of racism, sexism and corruption. There are many religious references in this film, including a mass river baptism in which two of the three heroes decide to join the crowd. They are told when the minister holds them in the water that all their past sins have been resolved and that they have a clean slate. They are overjoyed and beg their leader Everett (George Clooney) to do the same but he refuses. In this way he is presented as the voice of disbelief and hostility in the film.
When the trio make their way down the road with their chains, they are forced to walk in a certain order. Once the chains have been removed, they are still seen walking in this order as the camera follows them down the track or moves slowly on a dolly before them. In this way with their few possessions and stripped prison clothing, familiarity is all they have and this is clear in the way these shots are filmed.
At many points the three men manage to get themselves a car, and the camera rest on the hood or through the open window as they drive along. Another religious reference is brought forth from this when they reach a crossroads. The camera gives a tilted bird's eye view of where the four roads meet, letting the audience see the men approach and slow down to decide where to go. They see a young black man standing at the crossroads with guitar. The camera stands between them showing the divide which was effective. Everett asks the man what he was doing standing out in the middle of nowhere, and his reply was that he waited out an the crossroads all night, waiting for the devil. When he appeared, he was white, and he gave him a tainted gift of musical prowess. This shows how religious the characters are, and that they have faith in something no matter what the status.
This point is again proved when the black man is kidnapped by the KKK, a prominent racist extremist group in the South at the time. The trio go in for a rescue mission and the camera shows from a distance the elaborate marching the men performed in their white cloaks. I see this as a laughable addition to the film as this is a harmless part of what they did and nobody else would see it, not in the KKK. This must have taken a lot of practice and the fact the grown men would organize this kind of display for no one but themselves when they have such twisted, despicable beliefs came across as comically pathetic. The camera gave bird's eye view shots of the marching, the huge wooden cross, the noose and the heroes in quick succession, changing almost silently. When the boys set the cross in fire, the camera follows the flame from the bottom to the top of the structure, illuminating the shot.
The camera angles, music and distanced shots create a film that feels dated and gives an onlooker's view of the goings on.
This film follows the journey of 3 escaped convicts (chained together) in search of a treasure that has 4 days before being lost forever at the bottom of a lake. They are pursued by the law, swindled by crooks and seduced by sirens before coming to a holy realization.
The film is set in 1930's Mississippi, a land portrayed as one of racism, sexism and corruption. There are many religious references in this film, including a mass river baptism in which two of the three heroes decide to join the crowd. They are told when the minister holds them in the water that all their past sins have been resolved and that they have a clean slate. They are overjoyed and beg their leader Everett (George Clooney) to do the same but he refuses. In this way he is presented as the voice of disbelief and hostility in the film.
When the trio make their way down the road with their chains, they are forced to walk in a certain order. Once the chains have been removed, they are still seen walking in this order as the camera follows them down the track or moves slowly on a dolly before them. In this way with their few possessions and stripped prison clothing, familiarity is all they have and this is clear in the way these shots are filmed.
At many points the three men manage to get themselves a car, and the camera rest on the hood or through the open window as they drive along. Another religious reference is brought forth from this when they reach a crossroads. The camera gives a tilted bird's eye view of where the four roads meet, letting the audience see the men approach and slow down to decide where to go. They see a young black man standing at the crossroads with guitar. The camera stands between them showing the divide which was effective. Everett asks the man what he was doing standing out in the middle of nowhere, and his reply was that he waited out an the crossroads all night, waiting for the devil. When he appeared, he was white, and he gave him a tainted gift of musical prowess. This shows how religious the characters are, and that they have faith in something no matter what the status.
This point is again proved when the black man is kidnapped by the KKK, a prominent racist extremist group in the South at the time. The trio go in for a rescue mission and the camera shows from a distance the elaborate marching the men performed in their white cloaks. I see this as a laughable addition to the film as this is a harmless part of what they did and nobody else would see it, not in the KKK. This must have taken a lot of practice and the fact the grown men would organize this kind of display for no one but themselves when they have such twisted, despicable beliefs came across as comically pathetic. The camera gave bird's eye view shots of the marching, the huge wooden cross, the noose and the heroes in quick succession, changing almost silently. When the boys set the cross in fire, the camera follows the flame from the bottom to the top of the structure, illuminating the shot.
The camera angles, music and distanced shots create a film that feels dated and gives an onlooker's view of the goings on.
Fargo
This weekend I also happened to watch Fargo, the 1996 Crime-Thriller directed by the Coen brothers.
The story tells of Jerry Lundegaard who decides to pay two thugs to kidnap his wife with the promise of sharing the 80,000 dollar ransom 50-50. Things go wrong and the thugs end up killing 3 innocent bystanders: a police ranger and a couple on vacation. They decide they want the full $80,000 and refuse to give his wife back otherwise. This is on top of the bank and car dealerships demanding money from Lundegaard. The heroine of the story is Marge Gunderson - the heavily pregnant, coffee drinking police officer.
I believe the Coen brothers added the character of Marge to bring a lightness and comedic relief to the story. Coen brothers films are very rarely without a stock character like Marge, but she seems to embody the 'American Spirit' of doing what's right (along with eating fast food for nearly every meal).
The shots of the snow in Fargo, North Dakota gave the film a feel of isolation, as in these shots all you can see is white. One point I noticed was that the snow was always immaculately clean (apart from the blood). There were tire tracks but no dirt or mud was present. This gave the film an almost farcical feel, as if the little town of Fargo was in fact unreal.
At one point Lundegaard is looking around in the snow. The camera all of a sudden becomes his point of view and pans around back and forth standing in one spot, showing that the expanse of a barbed wire fence on the left is exactly the same as the stretch to the right, making it seem like a never ending road.
Many times the camera ends up in the passenger seat of a car, even if both seats are occupied by characters. The swapping out of characters for cameras give the shots a more personal feel, as if the audience is sitting across from Marge or Shep (the Native American crooked garage worker). The camera spends a lot of time following cars, in the back of cars, on the front of cars and once on the floor of the car. It gives the audience the sense that in Fargo this is the only way to get around. Cars are a key theme in the film, with Lundegaard working at a car dealership, Shep at a garage, the crooks steal a car and Marge with her police brawler.
Fargo North Dakota is supposedly the home of the giant Paul Bunyan, and his pet Babe the blue Ox. The directors use this symbolism by adding a huge statue of Bunyan at the entrance to the town, as if he looks on to all the crime and judges, silently and still. The camera has to pan up to look at his face, which is terrifying in the dark and quiet of the snowy night.This harmless statue is one of the shots that makes the audience the most uneasy, which shows how much power an inanimate object has when put in the right setting. As well as this, the characters converge at the dive bar 'The Blue Ox', a reference to Babe. This again adds to the farcical feel of the town and shows that the people of Fargo stick at home, as if all the corruption stays and festers in Fargo.
I found the use of cars, the magical imagery of Bunyan and Babe and the camera angles in the cars, snow and bars all contributed to the mount of tension, remorse at the death and the love for Marge elicited by the Coen brothers in this film.
In the end, Carl (Steve Buscemi) the corrupt murderer returns to the town to hide over $1,000,000 in the snow before returning to his accomplice and he never goes back for it (he never leaves their hide out again). The Coen brothers began the film with 'Based on a true story, as the events happened', and never told the audience what happened to the money in the end, and it was said that a Japanese woman actually flew to America, traveled to Fargo, North Dakota to try and find the money and died trying.
The story tells of Jerry Lundegaard who decides to pay two thugs to kidnap his wife with the promise of sharing the 80,000 dollar ransom 50-50. Things go wrong and the thugs end up killing 3 innocent bystanders: a police ranger and a couple on vacation. They decide they want the full $80,000 and refuse to give his wife back otherwise. This is on top of the bank and car dealerships demanding money from Lundegaard. The heroine of the story is Marge Gunderson - the heavily pregnant, coffee drinking police officer.
I believe the Coen brothers added the character of Marge to bring a lightness and comedic relief to the story. Coen brothers films are very rarely without a stock character like Marge, but she seems to embody the 'American Spirit' of doing what's right (along with eating fast food for nearly every meal).
The shots of the snow in Fargo, North Dakota gave the film a feel of isolation, as in these shots all you can see is white. One point I noticed was that the snow was always immaculately clean (apart from the blood). There were tire tracks but no dirt or mud was present. This gave the film an almost farcical feel, as if the little town of Fargo was in fact unreal.
At one point Lundegaard is looking around in the snow. The camera all of a sudden becomes his point of view and pans around back and forth standing in one spot, showing that the expanse of a barbed wire fence on the left is exactly the same as the stretch to the right, making it seem like a never ending road.
Many times the camera ends up in the passenger seat of a car, even if both seats are occupied by characters. The swapping out of characters for cameras give the shots a more personal feel, as if the audience is sitting across from Marge or Shep (the Native American crooked garage worker). The camera spends a lot of time following cars, in the back of cars, on the front of cars and once on the floor of the car. It gives the audience the sense that in Fargo this is the only way to get around. Cars are a key theme in the film, with Lundegaard working at a car dealership, Shep at a garage, the crooks steal a car and Marge with her police brawler.
Fargo North Dakota is supposedly the home of the giant Paul Bunyan, and his pet Babe the blue Ox. The directors use this symbolism by adding a huge statue of Bunyan at the entrance to the town, as if he looks on to all the crime and judges, silently and still. The camera has to pan up to look at his face, which is terrifying in the dark and quiet of the snowy night.This harmless statue is one of the shots that makes the audience the most uneasy, which shows how much power an inanimate object has when put in the right setting. As well as this, the characters converge at the dive bar 'The Blue Ox', a reference to Babe. This again adds to the farcical feel of the town and shows that the people of Fargo stick at home, as if all the corruption stays and festers in Fargo.
I found the use of cars, the magical imagery of Bunyan and Babe and the camera angles in the cars, snow and bars all contributed to the mount of tension, remorse at the death and the love for Marge elicited by the Coen brothers in this film.
In the end, Carl (Steve Buscemi) the corrupt murderer returns to the town to hide over $1,000,000 in the snow before returning to his accomplice and he never goes back for it (he never leaves their hide out again). The Coen brothers began the film with 'Based on a true story, as the events happened', and never told the audience what happened to the money in the end, and it was said that a Japanese woman actually flew to America, traveled to Fargo, North Dakota to try and find the money and died trying.
Byzantium
This weekend I watched the 2012 Fantasy-Horror Byzantium, directed by Neil Jordan.
This film told the story of a 200 year old mother and daughter fleeing from the law in a historic seaside town. The film is full of flashbacks - filtered making them look grainy and blurry, the edges fading leaving the center clear. These flashbacks often dated back to Georgian England, where the grey beaches give the shots an aged look - but the brothel was richer in colour which made the shot feel claustrophobic and gave you fear for the character entering the place.
The audience meets the character of the mother (Gemma Arterton) when she is a young 16 year old girl working in the beaches. Her clothing throughout the flashbacks seem progress in a time line. At first, a simple soft pink dress with many shawls on her waist and a head-dress against the cold. Second, when she is sent to work at the brothel, a slim Burgundy dress with little embellishment. Finally, once she has become a vampire, an elaborate blue silk dress patterned with white flowers and bordered with lace and long draping sleeves. This I believe shows her progression towards the dark/unholy side, and by the end it is as if the devil has rewarded her transformation by dressing her in finery as legends tell. It is eye catching and noticeable, making the audience aware which works well.
Many of the shots show death and destruction in the background (when the protagonists kill or are discovered, they douse the scene of the crime in fuel and strike a match), making the actors stand out in the foreground, often walking away from the blaze against the crowd which highlights the mundane nature the task holds for them, which I found very effective.
Much of the action took place through glass, often clouded of stained. It gave the victims a less graphic ending which made it easier to watch and any dialogue was muffled. This was eerie in the sense that anyone else in the building (in one case a hospital) would not have heard if there was a cry for help.
The shots were also quite long, as many times characters are traced up a rock face, falling and stumbling before reaching the top. The lack of music and the mention of the curse on the rock builds the tension and suspense.
Overall I found the use of diegetic sound (mostly piano playing), the use of glass, the faded flashbacks and the violent background action worked well together to produce an effective fantasy-horror that spared no one.
This film told the story of a 200 year old mother and daughter fleeing from the law in a historic seaside town. The film is full of flashbacks - filtered making them look grainy and blurry, the edges fading leaving the center clear. These flashbacks often dated back to Georgian England, where the grey beaches give the shots an aged look - but the brothel was richer in colour which made the shot feel claustrophobic and gave you fear for the character entering the place.
The audience meets the character of the mother (Gemma Arterton) when she is a young 16 year old girl working in the beaches. Her clothing throughout the flashbacks seem progress in a time line. At first, a simple soft pink dress with many shawls on her waist and a head-dress against the cold. Second, when she is sent to work at the brothel, a slim Burgundy dress with little embellishment. Finally, once she has become a vampire, an elaborate blue silk dress patterned with white flowers and bordered with lace and long draping sleeves. This I believe shows her progression towards the dark/unholy side, and by the end it is as if the devil has rewarded her transformation by dressing her in finery as legends tell. It is eye catching and noticeable, making the audience aware which works well.
Many of the shots show death and destruction in the background (when the protagonists kill or are discovered, they douse the scene of the crime in fuel and strike a match), making the actors stand out in the foreground, often walking away from the blaze against the crowd which highlights the mundane nature the task holds for them, which I found very effective.
Much of the action took place through glass, often clouded of stained. It gave the victims a less graphic ending which made it easier to watch and any dialogue was muffled. This was eerie in the sense that anyone else in the building (in one case a hospital) would not have heard if there was a cry for help.
The shots were also quite long, as many times characters are traced up a rock face, falling and stumbling before reaching the top. The lack of music and the mention of the curse on the rock builds the tension and suspense.
Overall I found the use of diegetic sound (mostly piano playing), the use of glass, the faded flashbacks and the violent background action worked well together to produce an effective fantasy-horror that spared no one.
Friday, 10 January 2014
Collage
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Here is the collage of film snapshots and title images I have compiled to represent as a whole the film genre I am basing my film opening around. I call it: PASTICHE.
Risk Assessment
Friday, 29 November 2013
Morecambe & Wise breakfast scene
For my 2 minute film piece, I am considering choreographing a scene similar to the one performed by comedy duo 'Morecambe and Wise'. I would intersperse this with shots of people running, as I think to pair the mundane task of cooking with frantic movement and panic of running would have comic value.
Friday, 22 November 2013
Film Opening Time Line
http://www.artofthetitle.com/title/great-expectations/#
Here is a film opening time line for 'Great Expectations' (2011)
00:02 - RAY WINSTON
00:06 - GILLIAN ANDERSON
00:11 - DAVID SUCHET
00:15 - and DOUGLAS BOOTH
00:21 - MARK ADDY, CHARLE CREED-MILES, SHAUN DOOLEY
00:23 - OSCAR KENNEDY, VANESSA KIRBY, IZZY MEIKLE-SMALL
00:27 - PAUL RHYS, JACK ROTH, CLAIRE RUSHBROOK
00:30 - screenplay by SARAH PHELPS
00:33 - produced by GEORGE ORMOND
00:35 - directed by BRIAN KIRK
00:42 - GREAT EXPECTATIONS
00:44 - by CHARLES DICKENS
The credits appear relatively oddly spaced, the number of seconds between them varying widely.
The music for this film opening seemed to build, starting softly at the beginning with only one or two instruments being played. As the piece moved on, more and more depth seemed to be added to it, and by the end of the opening the music had reached a delicate, reserved crescendo using only one instrument. This was effective when paired with the butterfly starting off translucent, then becoming more white/grey, then developing fine black patterns on it's wings until finally, it's jet black and in the iconic pose of a butterfly preserved for display - referencing part of the story, and one of Miss Havisham's famous lines.
Miss Havisham: [to Pip of a butterfly collection] "Look closer if you wish. My brother's collection. He went to the furthest reaches of the earth in his quest for the purest specimen of beauty. And when he found it, he stuck a pin through its heart. He's dead now. Cholera. In the tropics. Struck down in his relentless pursuit of beauty. Perhaps it was beauty's revenge to stop his heart when he had stopped so many others."
Here is a film opening time line for 'Great Expectations' (2011)
00:02 - RAY WINSTON
00:06 - GILLIAN ANDERSON
00:11 - DAVID SUCHET
00:15 - and DOUGLAS BOOTH
00:21 - MARK ADDY, CHARLE CREED-MILES, SHAUN DOOLEY
00:23 - OSCAR KENNEDY, VANESSA KIRBY, IZZY MEIKLE-SMALL
00:27 - PAUL RHYS, JACK ROTH, CLAIRE RUSHBROOK
00:30 - screenplay by SARAH PHELPS
00:33 - produced by GEORGE ORMOND
00:35 - directed by BRIAN KIRK
00:42 - GREAT EXPECTATIONS
00:44 - by CHARLES DICKENS
The credits appear relatively oddly spaced, the number of seconds between them varying widely.
The music for this film opening seemed to build, starting softly at the beginning with only one or two instruments being played. As the piece moved on, more and more depth seemed to be added to it, and by the end of the opening the music had reached a delicate, reserved crescendo using only one instrument. This was effective when paired with the butterfly starting off translucent, then becoming more white/grey, then developing fine black patterns on it's wings until finally, it's jet black and in the iconic pose of a butterfly preserved for display - referencing part of the story, and one of Miss Havisham's famous lines.
Miss Havisham: [to Pip of a butterfly collection] "Look closer if you wish. My brother's collection. He went to the furthest reaches of the earth in his quest for the purest specimen of beauty. And when he found it, he stuck a pin through its heart. He's dead now. Cholera. In the tropics. Struck down in his relentless pursuit of beauty. Perhaps it was beauty's revenge to stop his heart when he had stopped so many others."
Tuesday, 19 November 2013
Juno 9 Shot #2
Shot 1 -
The film kicks off with a shot of Juno, walking down the street carrying a family sized carton of orange juice. She is dressed very casually as if she isn't particularly bothered about her appearance or what other people might think. This is reinforced when she meets a group of track runners in matching uniforms. The uniforms completely contrast Juno's clothes, as the shorts the runners wear show a lot of skin, and people would expect those to be worn in summer weather, even though it appears to be autumn. She is walking one way down the pavement and the boys run the other way, parting around her like a school of fish. This shows that she goes against the crowd, unconventional and unaccepted in this way. Once the runners leave he screen, the style changes to roughly sketched outlines. The buildings appear only as concept drawings and childish shading provides the colour. This is relevant due to the film being about children and pregnancy.
Shot 2 -
Shot 2 is shorter, and shows a lot of different textures. The houses are now made of grid paper and nothing casts a shadow but Juno. The credits look as if someone has drawn them in bubble writing to make them stand out. The windows are blank and show nothing within. Also, only the primary colours are featured here. Everything is very basic - apart from Juno. Her sketched self is very detailed a realistic, with the artist having drawn the folds in the fabric of her clothes and accurately cast her shadow. There is nobody else in the shot, which echoes the notion of Juno being/feeling alone.
Shot 3 features leaves that look as if they have been cut out of a magazine, only their outlines have not been properly trimmed off - also quite childish. Her shadow is not as accurate, and appears as if the light source is directly above her. The grass is very juvenile, having no texture and consisting only of seams. Juno is again the most detailed image in the shot.
Shot 4 is another pan, and now all seams are gone also. There is no telling where the ground is, where it begins or where it ends. The leaves are much less detailed as well, as if everything in Juno's world is getting simpler and simpler, more childish and messier. The minivan appears to be suspended in mid air seeing as their are no guidelines or shadow.
Shot 5 -
Here shot four runs into shot five. Shot four Juno can be seen walking across the top of shot 5 for the duration, whilst shot five Juno walks towards the camera, yet never moves. The houses, ground and bins are all one block colour, as if drawn as part of a cartoon that remains uncoloured.
Shot 6 -
The telephone pole is relatively 2D, which is a traditional convention in children's cartoon programmes. The lamppost blends into the sky and the cables are pencil thin, making it somehow lazier than real life.
Shot seven looks quite like a collage in that the trees and Juno are photographed but the houses, birds, sky and clouds are all sketches. The mixture of outlines and detail layered together along with the awkward 'stop motion' walking make the shot seem very divided.
The ground in shot 8 seems very unnatural, and there is no sign of nature here as there has been in the previous shots (trees, leaves, clouds etc.). Here it doesn't look as if Juno is actually walking on the driveway almost, which goes back to the layering. She also walks past some important items that appear later in the film, which the audience don't realise yet. Also, the sketching on her clothing seems to be getting simpler, especially her shoes and her left hand. Again there is no shadow. The shot looks cold and hard, again only using primary colours which make the shot look drained.
Again, shot nine shows Juno walking down the street at a less than natural angle. the fence and the buildings seem almost out of proportion in comparison to her. The horizon has melded together and has been reduced to white, blue, and pencil thin outlines. It is as if the further Juno walks, the less detailed, colourful and realistic the world looks, as if it stops where the pavement stops. It is almost as if she's walking off the edge of the clip and if she hand walked the other way from where the film started she would look natural and so would everything else. It would all stay normal, which is like her life - she had two options 'pregnant' or 'not pregnant'. Because she became pregnant her world disintegrates around her. If she had continued on without this life changing event happening to her, she would go on as normal.
Again this film is one I'd like to take as much inspiration from as I can, as I feel the opening is so effective and the feeling the audience gets from the grunge-nerd style is what I'd like to apply to my film.
Sunday, 17 November 2013
Scott Pilgrim - 9 shots
http://www.artofthetitle.com/title/scott-pilgrim-vs-the-world/
Shot 1 -
The first shot of the film shows the iconic 'Universal globe', rotating as it does at the start of all Universal productions. When the icon appears (unconventionally slides) on the screen the audience expect the usual orchestrated theme that accompanies the globe, but instead they hear an 8-bit mock up rendition, more suited to a videogame than anything else. Also, the letters seem slightly pixelated and the globe moves another cell in rotation every 1/4 second. This is just as iconic as the Universal logo as 'vintage videogames' are very popular. This sets the tone/theme for the film as these references crop up throughout, and compels the audience to keep watching as this is a clear hint that the film is going to try to entertain you.
Shot 2 -
Once the audio has ceased, the second shot begins with a voiceover reading the text that appears on the grey screen. The lines of text appear one at a time, giving the audience a chance to read it for themselves before the voice does. The style in which the voice speaks is extremely similar to the narrators in the genre of fantasy films, where a voiceover introduces where the action is going to take place, when it is set, and often who the protagonist is.
This is beginning to set the scene for the audience, not only using the information the voice provides, but also allowing people to realise which stereotype the film is playing up to. The typical nerdy male gamer that is such an entertaining cliché to play up is taking centre stage here with the fantasy film and 8-bit gamer references. By using these, before you meet him the audience already know a significant amount of Scott's character. Also, these have a lot of comedy value. It is a fairly long shot, and as the first lines of text fade away, two more appear - again in fade - that set up exactly what is happening, allowing the audience to jump right into the action.
As the shot pans down a little more, the audience realises the grey background in reality was the sky, setting the gloomy tone the film opening takes. When finally the shot is still again, we see the roof of a house. The audience may assume this is Scott's house, and this sets up even more humour that will be realised later in the film when the audience see Scott's living conditions. The snow makes everything seem grey and cold, and the quietness creates a sense of anticipation for the audience. To finish, we here a woman's voice (as well as a musical chime (as if a memory)) as if replying to the narrator, repeating what he said as if displeased. This is a straight lead into the action.
Shot 3 -
Shot 3 is extremely short in comparison to shot 2, and very impersonal. Even though we see four characters straight off, none of them reveal their faces to the camera as if purposely ignoring it.
The table has four chairs around it, and this fact leads the audience to think that the four people in the shot are the only people who sit in those chairs, and so are a secluded and solitary group. None of the items in the shot are very modern and this hints to the audience that as a group they are not particularly wealthy. Regardless of the snow outside, 2 out of the 4 are wearing short sleeved t-shirts. This could show the audience how regular this harsh weather is, or that they wear the same clothing all year round, due to the lack of funds.
Shot 4 -
The following shots from now on are 'Shot Reverse Shot'. Shot four shows Kim from Scott's eye level, so the camera must have been tilted to make it seem as if the audience sees what he sees. It is also slightly darker in Kim's corner, and her dialogue is spoken with distain. This may reflect her dark personality and show the audience what kind of person she is.
Shot 5 -
Again, like shot 4 we see a 'Shot Reverse Shot' of Scott and Kim. There seems to be no 180 degree rule here as someone looking on would have to move continually around the kitchen to get at the angles of each characters face. Scott's corner seems a bit brighter, also you see more of Kim's head than you did of Scott's shoulder, as if the audience was actually looking past the back of Kim's head (in the room). When Scott speaks he doesn't turn around. At this point the audience still hasn't seen the face of the title character, also establishing the relationship between the too characters as quite casual.
Shot 6 -
A mid-shot of Kim, just about fitting her head in the frame. When she speaks she stays very still and doesn't use much energy in her speech or facial expression. This helps to set the lethargic mood in the scene.
Shot 7 -
Scott is introduced. This is also another mid shot, as if every shot style is then mimicked one more time by the other character. Another game reference is the ID box. These are used to introduce the name, rating/ranking, special skill and sometimes personal information in a videogame when selecting the character you want to play with. Placing it here is useful and comic, especially as each character (as well as this one) has an official rating from some unknown source. This is placed to take the audience back to when they might have played a game like this and looked for the player with the best rating.
Shot 8 -
Shot 8 introduces a new character. Behind this character (Steven Stills) we see the only modern appliances in the room. There are items behind him that do not automatically spring to mind as being typically owned by people of this age group, e.g. substantial spice rack, wok etc... which may hint to the audience that this is/was a family house. This also begins a new 'Shot Reverse Shot' between Steven Stills and Scott. Again, the lack of energy and enthusiasm adds to the lethargic feel of the scene, even though Stills' dialogue states the opposite of Kim's.
Shot 9 -
The final shot in this analysis shows the final character in the scene not yet mentioned - Young Neil. He has not yet taken an interest in the conversation, which may be the reason the space behind him is the most dark, as he is the least involved as he has been absorbed in his videogame. This is the most up-to-date piece of machinery and is symbolic seeing as it has kept the character out of the conversation so far, and yet there are so many references made. The design on his shirt is also similar to the device in his hand, as if by playing the game he is fulfilling the action suggested to him. The audience also sees what appear to be a very washing machine and dryer, which again are not typical appliances for people of this age to own. The fact that they are outdated hints that they may have been left there when the rest of the family moved out.
This film is what I feel I will take much of my inspiration from, as the themes such as 'videogame style' and overdramatized shots I find entertaining and fun to work with.
Shot 1 -
The first shot of the film shows the iconic 'Universal globe', rotating as it does at the start of all Universal productions. When the icon appears (unconventionally slides) on the screen the audience expect the usual orchestrated theme that accompanies the globe, but instead they hear an 8-bit mock up rendition, more suited to a videogame than anything else. Also, the letters seem slightly pixelated and the globe moves another cell in rotation every 1/4 second. This is just as iconic as the Universal logo as 'vintage videogames' are very popular. This sets the tone/theme for the film as these references crop up throughout, and compels the audience to keep watching as this is a clear hint that the film is going to try to entertain you.
Shot 2 -
Once the audio has ceased, the second shot begins with a voiceover reading the text that appears on the grey screen. The lines of text appear one at a time, giving the audience a chance to read it for themselves before the voice does. The style in which the voice speaks is extremely similar to the narrators in the genre of fantasy films, where a voiceover introduces where the action is going to take place, when it is set, and often who the protagonist is.
This is beginning to set the scene for the audience, not only using the information the voice provides, but also allowing people to realise which stereotype the film is playing up to. The typical nerdy male gamer that is such an entertaining cliché to play up is taking centre stage here with the fantasy film and 8-bit gamer references. By using these, before you meet him the audience already know a significant amount of Scott's character. Also, these have a lot of comedy value. It is a fairly long shot, and as the first lines of text fade away, two more appear - again in fade - that set up exactly what is happening, allowing the audience to jump right into the action.
As the shot pans down a little more, the audience realises the grey background in reality was the sky, setting the gloomy tone the film opening takes. When finally the shot is still again, we see the roof of a house. The audience may assume this is Scott's house, and this sets up even more humour that will be realised later in the film when the audience see Scott's living conditions. The snow makes everything seem grey and cold, and the quietness creates a sense of anticipation for the audience. To finish, we here a woman's voice (as well as a musical chime (as if a memory)) as if replying to the narrator, repeating what he said as if displeased. This is a straight lead into the action.
Shot 3 is extremely short in comparison to shot 2, and very impersonal. Even though we see four characters straight off, none of them reveal their faces to the camera as if purposely ignoring it.
The table has four chairs around it, and this fact leads the audience to think that the four people in the shot are the only people who sit in those chairs, and so are a secluded and solitary group. None of the items in the shot are very modern and this hints to the audience that as a group they are not particularly wealthy. Regardless of the snow outside, 2 out of the 4 are wearing short sleeved t-shirts. This could show the audience how regular this harsh weather is, or that they wear the same clothing all year round, due to the lack of funds.
The following shots from now on are 'Shot Reverse Shot'. Shot four shows Kim from Scott's eye level, so the camera must have been tilted to make it seem as if the audience sees what he sees. It is also slightly darker in Kim's corner, and her dialogue is spoken with distain. This may reflect her dark personality and show the audience what kind of person she is.
Again, like shot 4 we see a 'Shot Reverse Shot' of Scott and Kim. There seems to be no 180 degree rule here as someone looking on would have to move continually around the kitchen to get at the angles of each characters face. Scott's corner seems a bit brighter, also you see more of Kim's head than you did of Scott's shoulder, as if the audience was actually looking past the back of Kim's head (in the room). When Scott speaks he doesn't turn around. At this point the audience still hasn't seen the face of the title character, also establishing the relationship between the too characters as quite casual.
A mid-shot of Kim, just about fitting her head in the frame. When she speaks she stays very still and doesn't use much energy in her speech or facial expression. This helps to set the lethargic mood in the scene.
Scott is introduced. This is also another mid shot, as if every shot style is then mimicked one more time by the other character. Another game reference is the ID box. These are used to introduce the name, rating/ranking, special skill and sometimes personal information in a videogame when selecting the character you want to play with. Placing it here is useful and comic, especially as each character (as well as this one) has an official rating from some unknown source. This is placed to take the audience back to when they might have played a game like this and looked for the player with the best rating.
Shot 8 introduces a new character. Behind this character (Steven Stills) we see the only modern appliances in the room. There are items behind him that do not automatically spring to mind as being typically owned by people of this age group, e.g. substantial spice rack, wok etc... which may hint to the audience that this is/was a family house. This also begins a new 'Shot Reverse Shot' between Steven Stills and Scott. Again, the lack of energy and enthusiasm adds to the lethargic feel of the scene, even though Stills' dialogue states the opposite of Kim's.
The final shot in this analysis shows the final character in the scene not yet mentioned - Young Neil. He has not yet taken an interest in the conversation, which may be the reason the space behind him is the most dark, as he is the least involved as he has been absorbed in his videogame. This is the most up-to-date piece of machinery and is symbolic seeing as it has kept the character out of the conversation so far, and yet there are so many references made. The design on his shirt is also similar to the device in his hand, as if by playing the game he is fulfilling the action suggested to him. The audience also sees what appear to be a very washing machine and dryer, which again are not typical appliances for people of this age to own. The fact that they are outdated hints that they may have been left there when the rest of the family moved out.
This film is what I feel I will take much of my inspiration from, as the themes such as 'videogame style' and overdramatized shots I find entertaining and fun to work with.
Monday, 11 November 2013
Relevant 'Oldies' (3)
Here are (in chronological order), the 5 'classic' films most relevant to the mixed up franken-genre I would like to use to form a concrete foundation for my film opening:
Monty Python 1975
The Rocky Horror Picture Show 1975
Blackadder 1988
Van Helsing 2004
Skyfall 2012
These all contain references to films other than themselves and were made in the last 40 years.
Monty Python 1975
The Rocky Horror Picture Show 1975
Blackadder 1988
Van Helsing 2004
Skyfall 2012
These all contain references to films other than themselves and were made in the last 40 years.
Thursday, 7 November 2013
Director People (2)
Edgar Wright
Directed: Shaun of the Dead, Hot Fuzz, the World's End, Scott Pilgrim vs. the World...
Date of Birth: 18th April 1974
Wright uses "Fast action style editing, usually of mundane tasks, including whip pans and crash zooms." He also uses "deadpan humour in fast paced moments". He uses physical comedy in ways that have become his trademark: e.g. failed fence jumps... His films are recognised as they very often take place in either a bar or a pub.
Stephen Chbosky
Directed: The Perks of being a Wallflower, (Contributed to) Austin Powers - Goldmember...
Date of Birth: 25th January 1970
Director/Author (The Perks of being a Wallflower 1999), as well as an original Broadway comedy.
Gregg Mottola
Directed: Adventureland, Paul, Superbad...
Date of Birth: 11th July 1964
He is known for being an "indie-film hot shot" as Superbad and Aventureland were both 'coming of age', indie style films. He enjoys working with computer-animated characters as he did in 'Paul'.
The techniques of these directors are what inspire me when it comes to creating my own film opening, and also a standard which I can strive to achieve.
Wednesday, 6 November 2013
Film Genres
I have found it a challenge to find a single genre that accomodates the wide variety of films I find to be my choice of style. Each film seems to fit into at least one category, but the majority of them do not agree with each other enough to fall into a single genre.
However, I have concluded that the 'Adventure' catagory would be the best option, due to it being a very open genre with few rules on what is and is not allowed. In an adventure film, it is almost 'anything goes'. Sometimes the barrier between fantasy and reality is broken, and then sometimes it isn't. Both are allowed and that is why it is the genre I have decided to work with.
Wikipedia says: "An adventure story is about a protagonist who journeys to epic or distant places to accomplish something. It can have many other genre elements included within it, because it is a very open genre. The protagonist has a mission and faces obsticles to get to his destination."
Many of the films I am fond of include "crime fighters who often possess superhuman powers and battle similarly powered criminals."
Thursday, 17 October 2013
Princess Chelsea - Monkey Eats Bananas
I watched this music video earlier, and I noticed some of the camera angles were quite interesting...
The editor appears to have layered various trimmed pieces of film over each other, with several independent images moving at once.
The video as a whole seems to have been poorly edited for fashionable effect, as the edges of the layered films are rough and pixelated.
Early on in the clip the shots change so fast it is almost as if you can see one image through another. Later when the monkey is playing the drums, the editor seems to have flipped the shot, so it plays once as it was filmed, and the second time it plays as if it had been mirrored.
Watching this has given me some strong ideas of what I would like to steer clear from when I come to make my film opening.
The editor appears to have layered various trimmed pieces of film over each other, with several independent images moving at once.
The video as a whole seems to have been poorly edited for fashionable effect, as the edges of the layered films are rough and pixelated.
Early on in the clip the shots change so fast it is almost as if you can see one image through another. Later when the monkey is playing the drums, the editor seems to have flipped the shot, so it plays once as it was filmed, and the second time it plays as if it had been mirrored.
Watching this has given me some strong ideas of what I would like to steer clear from when I come to make my film opening.
Monday, 14 October 2013
Best Coin Ever Spent
Before I left for school this morning I wanted to check my facebook page, but when I went to open up a browser a page was already open. On the page was this video, which I noticed has some good camera angles. So here it is becoming a blog post. The fact that the performers made up a full orchestra with a choir must have given the director/cameraman a lot to work with, and the way the camera looks at the instruments gives the clip variety.
The assortment of shots include:
- a Bird's eye view shot of the square the orchestra is in,
- Long shot of children watching the musicians
- Shots from bellow the instruments
- Extreme close up of string instruments
- Close up of instruments from behind
- Pan shots of the women in the orchestra
- Pan shots of other musicians walking into the square
- Shot from above of drums moving into the group
- Shot between musicians of conductor and many others that I cannot currently pin-point.
This video has emphasised that I will need to use a wide variety of shot types and distances in my film opening to keep my audience engaged.
I think this was worth note, and a fun video.
Lord of The Rings
On Friday evening I watched the first film in the 'Lord of the Rings' series.
I thought this clip had some interesting cinematic aspects to it.
At the start of the clip, Gandalf the Wizard bends over as if he is going to pick up the ring. The camera angle then changes to the ring's point of view with a close up of Gandalf's face. When he tries to touch the ring, Gandalf sees the iconic flaming red eye of Sauron. The shot is an extreme close up that appears to fill the flame with fire, and we can tell it was something Gandalf sees due to the close up and expression that follows.
Later on when Frodo enters the house, there is a shot-reverse-shot and a close up of the ring.
After Gandalf leaves, the scene cuts to a black and storming castle. We hear some sound effects, but primarily we hear Gollum screaming: "Shire, Baggins!" which is an example of Diegetic Sound (we do not see him).
Near the end of the clip, Gandalf is reading old documents to try and learn more about the ring. There is only music to be heard, until he comes across something useful, at which point he begins a voice over (non-diegetic sound) stating what he reads in his head.
These films often have an iconic magical object which has significance and/or a life of it's own - I would like to aim to use this concept in my own film opening.
I thought this clip had some interesting cinematic aspects to it.
At the start of the clip, Gandalf the Wizard bends over as if he is going to pick up the ring. The camera angle then changes to the ring's point of view with a close up of Gandalf's face. When he tries to touch the ring, Gandalf sees the iconic flaming red eye of Sauron. The shot is an extreme close up that appears to fill the flame with fire, and we can tell it was something Gandalf sees due to the close up and expression that follows.
Later on when Frodo enters the house, there is a shot-reverse-shot and a close up of the ring.
After Gandalf leaves, the scene cuts to a black and storming castle. We hear some sound effects, but primarily we hear Gollum screaming: "Shire, Baggins!" which is an example of Diegetic Sound (we do not see him).
Near the end of the clip, Gandalf is reading old documents to try and learn more about the ring. There is only music to be heard, until he comes across something useful, at which point he begins a voice over (non-diegetic sound) stating what he reads in his head.
These films often have an iconic magical object which has significance and/or a life of it's own - I would like to aim to use this concept in my own film opening.
Superbad opening
I also happened to watch the film 'Superbad' with Jonah Hill, Michael Cera and Christopher Mintz-Plasse:
I particularly like the film's opening sequence. It only lasts for a minute and twenty-seven seconds but I think it is very effective and suits the genre of the film in general.
I think the use of the green screen and the way they have duplicated the images is clever, and the colour combinations are very complimentary - even when the silhouettes overlap with the opening credits.
It is quite simple, but it is amusing and features the three principle characters in a humorous way.
By swapping between solid colours and thin outlines it doesn't get boring to watch. If the editors had stuck with one block colour for each character that stayed the same throughout, I don't think it would have been as entertaining.
This has also given me some ideas for possible film openings of my own.
I particularly like the film's opening sequence. It only lasts for a minute and twenty-seven seconds but I think it is very effective and suits the genre of the film in general.
I think the use of the green screen and the way they have duplicated the images is clever, and the colour combinations are very complimentary - even when the silhouettes overlap with the opening credits.
It is quite simple, but it is amusing and features the three principle characters in a humorous way.
By swapping between solid colours and thin outlines it doesn't get boring to watch. If the editors had stuck with one block colour for each character that stayed the same throughout, I don't think it would have been as entertaining.
This has also given me some ideas for possible film openings of my own.
Hot Patootie, Bless my Soul
I was watching 'The Rocky Horror Picture Show' this weekend, and I noticed some interesting camera angles in the scene with Eddie (Meatloaf), during his song 'Hot Patootie, Bless My Soul'.
At the start of the clip, I noticed some 'match on action' as Eddie came through the blocks of ice.
You see the door falling forward with the wall of ice behind it. The shot then cuts to Eddie on his motorcycle from behind. This then cuts to him coming through the doorway from the front, covered in tiles of ice. This is not dissimilar to what we did for our preliminary tasks: match on action - coming through a doorway from the front and behind.
1:18 seconds into the clip (when Eddie is playing the saxophone) I notice the angle changes to the camera being below the actor.
A few seconds later, Eddie begins kicking at the camera lens giving the impression that he's stamping on it, which I thought was interesting and it also went in time to the music which gave a nice flow to it.
One other camera angle I thought was effective was at 2:13 seconds into the clip. It shows a long shot of Rocky dancing to Eddie's song with Frank n Furter watching him in the background. A few seconds later the shot changes to a mid-shot of Frank n Furter still looking at Rocky.
Finally at the end of the song when Eddie dismounts his motorcycle, Frank n Furter attacks him with an ice pick from the freezer. Here there is a shaky 'shot reverse shot' of Frank and Eddie. The camera is clearly no longer on a track but follows Eddie as he falls to the ground and backs up into the freezer again.
The film in general has elements of the similar genre I would like to address in my own film opening, and I shall aim to use a few of the camera techniques seen here.
P.S. I hope none of the content in this clip is seen as inappropriate...
At the start of the clip, I noticed some 'match on action' as Eddie came through the blocks of ice.
You see the door falling forward with the wall of ice behind it. The shot then cuts to Eddie on his motorcycle from behind. This then cuts to him coming through the doorway from the front, covered in tiles of ice. This is not dissimilar to what we did for our preliminary tasks: match on action - coming through a doorway from the front and behind.
1:18 seconds into the clip (when Eddie is playing the saxophone) I notice the angle changes to the camera being below the actor.
A few seconds later, Eddie begins kicking at the camera lens giving the impression that he's stamping on it, which I thought was interesting and it also went in time to the music which gave a nice flow to it.
One other camera angle I thought was effective was at 2:13 seconds into the clip. It shows a long shot of Rocky dancing to Eddie's song with Frank n Furter watching him in the background. A few seconds later the shot changes to a mid-shot of Frank n Furter still looking at Rocky.
Finally at the end of the song when Eddie dismounts his motorcycle, Frank n Furter attacks him with an ice pick from the freezer. Here there is a shaky 'shot reverse shot' of Frank and Eddie. The camera is clearly no longer on a track but follows Eddie as he falls to the ground and backs up into the freezer again.
The film in general has elements of the similar genre I would like to address in my own film opening, and I shall aim to use a few of the camera techniques seen here.
P.S. I hope none of the content in this clip is seen as inappropriate...
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