- Continuity problems
I will try to ensure that we avoid continuity problems, perhaps by taking still shots of actors/the location to make sure that these things look the same from week to week. - Forgetting equipment
I'll try to sort out all my stuff for the shoot the night before, and then double check everything a couple of times before leaving the house on the day of the shoots. - Being efficient when shooting
I'll try to make sure that the group stay focused when shooting, to make sure that we're as efficient as possible. This will be particularly important for our real shoots. - Compromising
If the group have different ideas about something, I'll try to compromise in order to make sure that everyone gets a say in what happens. - Being honest and open with the group
If I don't think something will work, I will be honest about it and then as a group we'll probably have to have some sort of discussion to try and sort out the issue.
Monday, 26 November 2007
Avoiding problems
5 things I can do to help the group to avoid problems when shooting
Tuesday, 13 November 2007
'When A Stranger Calls' (2006) Opening Sequence
The sequence starts with the "ScreenGems" graphic. Towards the end of the graphic, there is the sound of a phone ringing twice. Then at the end of the "ScreenGems presents" black title screen, the phone is picked up and you can hear the voice of someone (sounds like a girl) saying "Hello?", then there's a male voice asking (quite creepily) "Is that Alice?" and the girl replies "No, I think you've got the wrong number". Meanwhile, the opening credits continue. Then the man says "Oh... well... what's your name?" and the girl replies "This is Stacy.... uh, who is this?" . The image of a house (at night time) then fades from black. The shot is slightly low angle, looking up at a window on the first floor of the house. We then hear the girl saying "Hello?... Hello?". The camera then pans right and a ferris wheel appears in the background of the shot (behind the house). The camera continues to pan right and then the audience gets a full view of a fun fair. The camera then tracks two children (medium long shot) running through the fair ground. There is then a pan of a man walking his dog. There appears to be a frame within a frame, which makes this shot appear to be a point of view shot. There are some jump cuts while the man is walking his dog, which is quite disorienting for the audience. Then there is a shot of a girl on a carousel. There is then a very quick cut to a shot of the house we were shown before, and then it goes back to the girl on the carousel. This is very disorienting for the audience since you can barely tell what disrupted the shot of the girl on the carousel. The camera pans from the carousel to the house we were shown earlier. You can then hear the phone ring once, then a girl picks up and says “Hello?”. Then there are very quick takes of close-up shots of the house, then long shots of the house. Then we hear the girl say “Who is this???”. The shot then changes to a shot of one of the fairground rides spinning around. Then there is a shot taken from behind an elderly couple sitting on a bench outside, the man waves at another man walking his dog. Then the shot changes to one of another house, we see someone walk out the door and call the names of 3 people. Then the camera pans right. The camera then moves up (sort of like a tilt, but the whole camera appears to be moving) to reveal the ferris wheel behind the house. A pink neon sign then comes into view, and the camera moves up until you can see the ‘Jesus’ in green neon lights. The woman who’s just left her house continues to call other character’s names. We then hear a small scream and during this scream, there are jump cuts of the house. The woman walks down the steps at the front of the house, then there are some more jump cuts to closer up to her and then further out. She then calls “A.J.!” and looks around, then calls “Charlie! Catherine”. Then the shot changes to a man with a dog going through the gate at the front of his house. Then we go back to the fair ground, with a low level shot of people at the fair ground, children playing etc. Then there is a shot of the first house we see, and the phone rings again. A girl (it sounds like it’s been the same girl on the phone throughout the whole opening sequence) and says “Hello? … Hello?… Please stop calling me!”. There is then a close up of a window on the top floor of the house, and the faint sound of a scream. Then it cuts to a shot of some wind chimes hanging off a branch on a tree, and the camera zooms in to the wind chimes. Then a silhouette of a person sprints past the wind chimes, and the sound of a scream is heard. Then the audience is taken back to the fair, with a close up of the middle part of the carousel. The name of the film then appears on screen, over the top of the carousel. Then there is a shot of another fairground ride (it looks sort of like a pick-axe stabbing downwards, which is presumably meant to be symbolic) , then the camera pans left to the ferris wheel, and keeps panning until it gets to the house that we were first introduced to. Then the light comes on in one of the first floor level windows, and the silhouette of a person can be seen, and there’s a really horrible scary scream. There’s then some more jump cuts which take you closer then further away from the window, very quickly. Then there are various shots of the fun fair, with people on different rides etc. All the while, there’s another 2 long and scary screams. Then the camera tilts up to follow a red balloon that has been let go and is now floating through the sky.
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Apparently this film isn't actually very good, but I thought the opening was quite well done. It was very good at being disorienting for the audience, since quite a lot of jump cuts were used (more than the ones I mentioned above). I thought this was a very interesting editing technique, since it was clearly done to deliberately disorient/confuse the audience. In the opening, no main characters are introduced really, only the voice of one girl (who is presumably killed and is the character doing the scary screaming) and the voice of a creepy guy (who is presumably the villain in the film). The cross cutting was also very interesting, especially since the two scenarios were very contrasting to each other. I also liked the use of enigma. The audience would wonder:
1. Who is Stacy?
2. Who was the voice at the other end of the phone (i.e. the creepy guy)?
3. Who was the scream at the end coming from? (I assumed it was Stacy, but can't be sure really)
I also think, that it's really good when there's a death in the beginning of a thriller film, so that might be an idea for the real project :). Also, the screaming was good because it scared me a bit and it sort of catches you off-guard, which made it even more scary. But yeah, overall, I thought this opening was really well done.
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Apparently this film isn't actually very good, but I thought the opening was quite well done. It was very good at being disorienting for the audience, since quite a lot of jump cuts were used (more than the ones I mentioned above). I thought this was a very interesting editing technique, since it was clearly done to deliberately disorient/confuse the audience. In the opening, no main characters are introduced really, only the voice of one girl (who is presumably killed and is the character doing the scary screaming) and the voice of a creepy guy (who is presumably the villain in the film). The cross cutting was also very interesting, especially since the two scenarios were very contrasting to each other. I also liked the use of enigma. The audience would wonder:
1. Who is Stacy?
2. Who was the voice at the other end of the phone (i.e. the creepy guy)?
3. Who was the scream at the end coming from? (I assumed it was Stacy, but can't be sure really)
I also think, that it's really good when there's a death in the beginning of a thriller film, so that might be an idea for the real project :). Also, the screaming was good because it scared me a bit and it sort of catches you off-guard, which made it even more scary. But yeah, overall, I thought this opening was really well done.
Monday, 12 November 2007
Atonement: Steadicam Sequence
I know Atonement's not a thriller in any way whatsoever (one of my favourite films though), but the camera work in the following sequence is so cool and I thought I'd quickly blog something about it.
The camera tilts down from the top of a ship (on land) to the main character of the film (Robbie, played by James McAvoy). Then the steadicam movement kicks in and the camera starts to follow Robbie as he walks along the shore. Robbie then walks out of frame, and the camera continues to move without following him. The audience then begin to get a sense of the surrounding as the camera moves around the scene. The whole sequence is just one long take, so there's not really much edited together. The sequence is fairly slow-paced because of this one take, and this works really well in taking the audience away from the story for a minute, just to give them an overview of the location. From earlier on in the film, the audience is shown that this part of the film is set during the time of World War Two (the mise-en-scene and character dress codes all indicate this). So, this whole sequence is used to show the consequences of war. Then at the end, the audience is brought back to Robbie, and the narrative continues.
The clip above is just a part of the 4 and a half minute long steadicam sequence.
The camera tilts down from the top of a ship (on land) to the main character of the film (Robbie, played by James McAvoy). Then the steadicam movement kicks in and the camera starts to follow Robbie as he walks along the shore. Robbie then walks out of frame, and the camera continues to move without following him. The audience then begin to get a sense of the surrounding as the camera moves around the scene. The whole sequence is just one long take, so there's not really much edited together. The sequence is fairly slow-paced because of this one take, and this works really well in taking the audience away from the story for a minute, just to give them an overview of the location. From earlier on in the film, the audience is shown that this part of the film is set during the time of World War Two (the mise-en-scene and character dress codes all indicate this). So, this whole sequence is used to show the consequences of war. Then at the end, the audience is brought back to Robbie, and the narrative continues.
The clip above is just a part of the 4 and a half minute long steadicam sequence.
Tuesday, 6 November 2007
A long time ago...
...me and my cousins made a short film (with the help of my uncle, about 4 years ago now) and I hadn't thought about it in a long time. But then, the other day I watched it again and realised that it could be quite useful for this project, since our film was in fact a thriller. . Instead of showing it to anyone (no-one will ever see it since you know, I was in it and it's thoroughly embarrassing), I thought that I would have another look at the opening and then blog something about it :)
**Update (08/11/07): Added some screencaps from the opening. They're a bit rubbish quality since it wouldn't work when I tried to screencap the video on my computer, so I had to use my digital camera to take pictures of the TV screen... **
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So the film starts with a black screen, then the music starts. Then the opening credits start and there are 4 titles (all of which appear over black screens) saying:
**Update (08/11/07): Added some screencaps from the opening. They're a bit rubbish quality since it wouldn't work when I tried to screencap the video on my computer, so I had to use my digital camera to take pictures of the TV screen... **
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So the film starts with a black screen, then the music starts. Then the opening credits start and there are 4 titles (all of which appear over black screens) saying:
- "Stephens Motion Pictures"
- "in association with"
- "minidrama productions"
- "presents..."
- "Death Diary" (that, was the film's name... I realise that I didn't mention that earlier...)
The audience is then introduced to two young female characters (meeee, and my cousin) who are sitting at a bus stop (during the day) having a conversation about a television show. Then one of the girls' (I'll call her Girl Number 1 for the purpose of this blog) mobile phone rings, and the other girl (Girl Number 2) continues to play a game on her mobile phone. Girl Number 1 picks up the phone and then tells Girl Number 2 that it's their dad on the phone. Girl Number 2 then tells Girl No. 1 to put him on speakerphone.
The audience then hears the father's voice telling the two girls that their grandmother has fallen sick, so their aunt has gone to stay with her, and the girls will have to stay with their grandmother too. So then Girl No. 2 protests saying "But Dad, Grandma's crazy!" and Girl No. 1 says "Yeah, and we haven't been there in ages". The reason behind the girls going to stay with their Grandma is then explained when their dad says "There's no-one else you can stay with and I've got a plane to catch". The Girl 1 then says goodbye and hangs up the phone. Both girls walk away from the bus stop and start to make their way to their grandmother's house.
The scene then cuts to the two girls walking through a pathway in a field-like area, where they are discussing the fact that they have to stay with their grandmother just because their dad has a business trip.
There is then some cross-cutting between the girls walking and a floor-level shot of another female character walking out of a front door and putting something under the door-mat.
The two girls then talk about how their grandmothers only friends are her "stupid neighbours" named Edward, Mary and Elizabeth, then Girl 1 comments that the neighbours must all be as mad as she [the grandmother is]. The two girls then meet up with their aunt (the other female character introduced earlier on), and the aunt explains that she can't look after them this weekend because their grandmother's been admitted to a hospital in Newcastle and explains that their grandmother's been "acting really weird lately", so the aunt is going to go and stay with her for a couple of days. Girl 2 says "Dad's not going to like us being alone...", Aunt Nina replies "Yeah I know, but I'll only be gone a couple of days... and I will phone him". Girl 1 then asks how they can get into the house, and Aunt Nina replies that there's a key underneath the mat (which, the audience saw being put there earlier on). The girls say goodbye to their aunt and begin to go their separate ways, but then the aunt stops and says to the girls: "Don't go in Grandma's room, she doesn't like people going in there".
The scene then changes to a medium shot (from inside the house) of the two girls opening the house's front door, both girls look slightly worried. Girl 1 says "You first", then Girl 2 says "Why's it always me??" and then Girl 1 says "because you're the youngest!" and pushes Girl 2 into the house, follows her in and then shuts the door (lots of shot/reverse shots here). Then there's a high angle long shot of the two girls looking up the stairs and Girl 2 commentinG "It's kind of creepy here, isn't it?".
There is then a reverse shot of the stairs and a reflection (through a mirror) of the first floor of the house. Then there's shot (taken from the same angle and distance as before) of the two girls then going into the kitchen through the door on the left. Then it goes back to the reverse shot of the stairs and the first floor of the house, a mysterious female figure (with her face unrecognisable because it's covered) comes around the corner to the top of the stairs.
Then there's some more cross-cutting between the mysterious female character walking down the stairs and the two girls having a conversation in the kitchen. The girl's then decide to go into the garden. There's a shot from inside the kitchen, looking through the window onto the two girls in the garden. The mysterious female figure then walks into the shot, facing the garden, and appears to be watching the two girls. It then cuts to the girls smelling flowers, then cuts back to the over-the-shoulder, frame-within-a-frame shot of the mysterious female character watching the girls.
The mysterious female character then walks out of the frame and the two girls are then shown sitting down on a bench at the back of the garden. Then the scene fades to black.
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Most of the dialogue in this is a bit silly, and most of the opening doesn't really seem very thriller-y. But, I do think that other than that it's quite good really. (And I'm allowed to say that since I didn't shoot or edit it).
The shot variety is pretty good, since lots of different distances, angles, movements and levels are used. I think the editing is really well done too, the cross-cutting works really well. The sound used is mostly diegetic, and the non-diegetic sound used helps to create tension.
But most importantly, the opening sequence helps to create enigma in very little time (the parts I've described above only take place over about 3 and a half minutes). The opening sequence raises the following questions:
- Where has the girls' father gone on his business trip?
- Will the girls' grandmother's neighbours (Edward, Mary and Elizabeth) become more relevant later on?
- What happened to the girls' grandmother that made her "act really weird lately"?
- Why doesn't the girls' grandmother like people going in her room?
- Who was the mysterious figure on the stairs/watching the girls?
....I have to say, I never realised that this film we made would be useful for future schoolwork!
Opening sequence credits conventions
I've watched a few thriller opening sequences, and have made a list of the credits that appear in them. By doing this I have learnt about which credits/graphics always/often appear and this will help me when it comes to creating my own thriller opening.
Flightplan
The Number 23
Conventional credits included in opening sequences
(in the conventional order they appear in)
Flightplan
- 'Touchstone' graphic
- 'Imagine Entertainment' graphic
- 'Touchstone pictures and Imagine Entertainment present'
- 'a Brian Grazer production'
- Actor name
- Film name
- More actor names
- Casting
- 'Music composed by...'
- Costume design
- 'Editing by...'
- Production Designer
- Director of Photography
- Executive Producers
- 'Produced by...
- 'Written by...
- 'Directed by...
- Warner Brothers graphic
- Village Roadshow Pictures graphic
- 'warner bros. pictures presents'
- 'in association with village roadshow pictures'
- 'a beacon pictures/john shestack/thunder road production'
- 'a richard loncraine film'
- Actor names
- Film name
- More actor names
- 'Casting by...'
- 'Costume design by...'
- 'Music by...'
- Co-producer
- 'Edited by...'
- Production designer
- Director of photography
- Executive producers
- 'Produced by...'
- 'Written by...'
- 'Directed by...'
- Dimension Films graphic
- 'Dimension Films presents'
- 'A Lorenzo Di Bonaventura production'
- 'A Mikael Hafstrom Film'
- Actor names
- Film name
- More actor names
- 'Casting by...'
- Costume designer
- 'Music by...'
- Editor
- Production designer
- Director of photography
- Associate producers
- Executive producers
- 'Produced by...'
- 'Based on the short story by...'
- 'Screenplay by...'
- 'Directed by...'
- ScreenGems graphic
- 'ScreenGems presents...'
- 'A David Entertainment Production'
- 'A Film by...'
- Actor names
- Film name
- 'Casting by...'
- 'Music by...'
- Costume designer
- 'Edited by...'
- Production designer
- Director of photography
- Executive producer
- 'Produced by...'
- 'Based on the film written by...'
- 'Screenplay by...'
- 'Directed by...'
The Number 23
- New Line Cinema graphic
- 'New Line Cinema presents'
- 'a Contrafilm/Firm Films production'
- 'a Joel Schumacher film'
- Actor name
- Film name
- More actor names
- 'Music by...'
- Associate producer
- Costume designer
- Editor
- Production designer
- Director of photography
- Co-producers
- Executive producers
- 'Produced by...'
- 'Written by...'
- 'Directed by...'
Conventional credits included in opening sequences
(in the conventional order they appear in)
- Film company graphic
- '[Film company] presents'
- 'A [producer/production company] production'
- 'A [director name] film'
- Main actor names
- Film name
- Supporting actor names
Other credits that often appear, but not necessarily in this order:
- 'Casting by...'
- 'Music by...'
- Producers/Executive Producers/Associate Producers/Co-producers
- Costume designer
- Editor
- Director of photography/Cinematographer
- Production designer
- Writers/'Screenplay by...'
Sometimes there are also credits to indicate if the film is based on a book/other film
Wednesday, 31 October 2007
Previous Students' Opening Sequences
Innocence
One thing that I found particularly interesting with this sequence was the choice of non-diegetic sound/music. The song that was chosen probably normally isn't so creepy, but for some reason in this groups opening, it works really well. Maybe its the version of the song they chose, or maybe its the whole scenario that goes with the song that makes it so creepy... either way, I think it worked quite well.
The style of titles that they used was very effective as well, I thought, since they went for a look that was very similar to those typical anonymous notes (made from individual letters cut out from newspapers/magazines) that characters receive in thriller films. I thought that the title screens/credits were also really good at setting up what was to come in the rest of the film, since those sorts of anonymous notes are often sent in kidnap films, so it seemed likely that they would feature prominently in the rest of the film.
Enigma was used in the first minute(ish) of the sequence, there were lots of shots of hands or feet or character's backs. So for quite a while you can't really tell who the characters are. You can see that one of them is a little girl, mainly because of her height and teddy bear. But apart from that, we don't really find out much about any of the characters until a bit later on.
The very first shot (close up/big close up of a white teddy bear) was very good at representing some of the themes that seem like they will feature prominently in the film. Teddy bears connote innocence (which, is also the film's title) and are also associated with children. The teddy bear was white and white is a signifier of purity. All of these themes (purity, innocence, children) seem like they will appear a lot during the course of the film.
The use of a 'missing' poster was also effective in foreshadowing events that will take place later in the film. At first, the poster seems slightly irrelevant, but then as the opening sequence goes on, the audience then begin to understand just how relevant it really is.
Exposure
The continuity in this opening sequence was very well done. Rules like the 180 degree rule were followed, and there were some good uses of matched cuts/matches on action. Shot/reverse shot was used when the male character goes to open a door, and then we see things from the other side of the door.
The camerawork in this sequence was generally very good but a few shots stood out to me, since I thought they were particularly well done:
~ The shot looking into a an opened drawer - the camera panned quickly from the left side, to the right side and then back to the left side. This quick movement showed that the shot must have been a point of view shot, from the male character's point of view. You can tell this because the male character seemed quite panicked and was rushing and the quick pan helped to convey the sense of panic/rush.
~The low level tracking shot of the male character's feet slowly walking along a corridor - I really like these kinds of shots. I think they're great at creating anticipation since the audience begin to wonder what he's walking towards.
~ The shot from inside a room where we see the door opening - when the character first opens the door, the room is totally dark and the audience can barely even see his shadow, then he switches the light on and the sequence goes from being black and white (as it was previously) to being in colour. I thought this was very effective in showing the contrast between that room (with the pictures stuck all over the walls) and the rest of the rooms in the house.
Low-key lighting appears to have been used, which is very effective for a thriller opening (as well as thrillers in general).
The film's credits were super-imposed over the scene. I thought this was very effective since it didn't break up the film too much, and allowed the action to continue at a fairly fast pace (well, for the beginning part of the sequence, at least).
I thought that the film's title screen was really very good. The font was well chosen, and I thought the effect that they used (with the flash and then the screen/text becoming negative) was very effective in showing that cameras/pictures will be important during the course of the film.
Wanted
I thought that it was very interesting how this group had so many actors in their opening sequence. I think that the finished product works quite well, but having so many actors is something that I really really don't want to do because I think it would end up being far too complicated and hard to organise.
The mise-en-scene works really well too. Particularly the dress codes and lighting. The black costumes are very effective in conveying the 'underground' world that is being presented to the audience. Similarly, the low lighting helped to connote that 'underground' theme. Also, the character's action codes (smoking, gambling, drug preparation etc.) show that the film will be about these 'underground' type characters.
I thought that the music was also well chosen and was well-suited to the themes that were being represented.
The sequence featured cross-cutting, which worked very well since it set up the final meeting between those 5 characters and also showed how they came to that point in the first place. Lots of fades and one or two fade to blacks were used and this slowed things down a bit, but not in a bad/boring way.
We were shown a few different events taking place (all of which lead up to that final meeting) and in between these events were were the title screens were put. The titles were on black screens with white text, which could possibly have been used to try and represent the contrasting good and evil that the audience will encounter during the course of the film.
Under the Gun
I thought the camera work in this sequence was very effective, as it quickly showed us who's side we were meant to be on and which characters we're meant to sympathise with. The first few shots were out of focus, and it's soon made apparent (by something that the main male character says) that we are seeing things from a female character's point of view, and she has just been regaining consciousness (which is why the first few shots were blurry). Quite a few of the shots seemed to be from that female character's point of view, so the audience begins to sympathise with her. Low angle, point of view shots of the male character were used to make him appear to be intimidating/threatening. One shot which I found particularly interesting was one of the female character, where her face was partly in shadow. This connotes a murky past, which was further confirmed when she said "I'm not a part of this anymore" ("anymore" being the operative part).
A lot of fade to blacks and fade from blacks were used, and this made the opening quite slow in pace. But this still worked very well since their opening seems to be much more character-driven than action-packed.
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I noticed that most of these opening sequence had very little (if any) dialogue. I can see why these groups had to do this, and I think that for my own thriller not having too much dialogue could be a good idea, since a lot of dialogue can complicate things when shooting. But I suppose, since we have better sound equipment this year than in previous years, it may not be so bad. But still, I don't think I want to put too much dialogue in my thriller opening. I think having a bit of dialogue is fine, and probably a good idea, but not too much.
Most of the openings weren't really very fast paced, and I think that would be a good idea for my thriller opening too, since having a film opening being too fast paced can be extremely confusing for the audience. Having a slower pace can also build up to a final event (or something similar) really well.
All of the opening sequences had a range of shot types, with shots being taken from different angles and levels. I think that this is extremely important for my own opening sequence since having a range of shots makes sure that the audience don't get bored.
Most of the opening sequences also had quite low [artificial] lighting, which was very effective since it helped to create lots of shadows and a very thriller-esque atmosphere. I think that low lighting would be good to use in my own thriller opening, but I can see how getting the lighting just right could also become a problem.
The majority of the opening sequences only had 1-4 characters in them, and I think that this is probably the best way to go about things, since it ensures that you won't end up complicating things by trying to organise shooting times for a large number of actors.
So, overall I think that looking at previous students' opening sequences was very helpful and enabled me to find out what works and doesn't work both when shooting and with the end result.
One thing that I found particularly interesting with this sequence was the choice of non-diegetic sound/music. The song that was chosen probably normally isn't so creepy, but for some reason in this groups opening, it works really well. Maybe its the version of the song they chose, or maybe its the whole scenario that goes with the song that makes it so creepy... either way, I think it worked quite well.
The style of titles that they used was very effective as well, I thought, since they went for a look that was very similar to those typical anonymous notes (made from individual letters cut out from newspapers/magazines) that characters receive in thriller films. I thought that the title screens/credits were also really good at setting up what was to come in the rest of the film, since those sorts of anonymous notes are often sent in kidnap films, so it seemed likely that they would feature prominently in the rest of the film.
Enigma was used in the first minute(ish) of the sequence, there were lots of shots of hands or feet or character's backs. So for quite a while you can't really tell who the characters are. You can see that one of them is a little girl, mainly because of her height and teddy bear. But apart from that, we don't really find out much about any of the characters until a bit later on.
The very first shot (close up/big close up of a white teddy bear) was very good at representing some of the themes that seem like they will feature prominently in the film. Teddy bears connote innocence (which, is also the film's title) and are also associated with children. The teddy bear was white and white is a signifier of purity. All of these themes (purity, innocence, children) seem like they will appear a lot during the course of the film.
The use of a 'missing' poster was also effective in foreshadowing events that will take place later in the film. At first, the poster seems slightly irrelevant, but then as the opening sequence goes on, the audience then begin to understand just how relevant it really is.
Exposure
The continuity in this opening sequence was very well done. Rules like the 180 degree rule were followed, and there were some good uses of matched cuts/matches on action. Shot/reverse shot was used when the male character goes to open a door, and then we see things from the other side of the door.
The camerawork in this sequence was generally very good but a few shots stood out to me, since I thought they were particularly well done:
~ The shot looking into a an opened drawer - the camera panned quickly from the left side, to the right side and then back to the left side. This quick movement showed that the shot must have been a point of view shot, from the male character's point of view. You can tell this because the male character seemed quite panicked and was rushing and the quick pan helped to convey the sense of panic/rush.
~The low level tracking shot of the male character's feet slowly walking along a corridor - I really like these kinds of shots. I think they're great at creating anticipation since the audience begin to wonder what he's walking towards.
~ The shot from inside a room where we see the door opening - when the character first opens the door, the room is totally dark and the audience can barely even see his shadow, then he switches the light on and the sequence goes from being black and white (as it was previously) to being in colour. I thought this was very effective in showing the contrast between that room (with the pictures stuck all over the walls) and the rest of the rooms in the house.
Low-key lighting appears to have been used, which is very effective for a thriller opening (as well as thrillers in general).
The film's credits were super-imposed over the scene. I thought this was very effective since it didn't break up the film too much, and allowed the action to continue at a fairly fast pace (well, for the beginning part of the sequence, at least).
I thought that the film's title screen was really very good. The font was well chosen, and I thought the effect that they used (with the flash and then the screen/text becoming negative) was very effective in showing that cameras/pictures will be important during the course of the film.
Wanted
I thought that it was very interesting how this group had so many actors in their opening sequence. I think that the finished product works quite well, but having so many actors is something that I really really don't want to do because I think it would end up being far too complicated and hard to organise.
The mise-en-scene works really well too. Particularly the dress codes and lighting. The black costumes are very effective in conveying the 'underground' world that is being presented to the audience. Similarly, the low lighting helped to connote that 'underground' theme. Also, the character's action codes (smoking, gambling, drug preparation etc.) show that the film will be about these 'underground' type characters.
I thought that the music was also well chosen and was well-suited to the themes that were being represented.
The sequence featured cross-cutting, which worked very well since it set up the final meeting between those 5 characters and also showed how they came to that point in the first place. Lots of fades and one or two fade to blacks were used and this slowed things down a bit, but not in a bad/boring way.
We were shown a few different events taking place (all of which lead up to that final meeting) and in between these events were were the title screens were put. The titles were on black screens with white text, which could possibly have been used to try and represent the contrasting good and evil that the audience will encounter during the course of the film.
Under the Gun
I thought the camera work in this sequence was very effective, as it quickly showed us who's side we were meant to be on and which characters we're meant to sympathise with. The first few shots were out of focus, and it's soon made apparent (by something that the main male character says) that we are seeing things from a female character's point of view, and she has just been regaining consciousness (which is why the first few shots were blurry). Quite a few of the shots seemed to be from that female character's point of view, so the audience begins to sympathise with her. Low angle, point of view shots of the male character were used to make him appear to be intimidating/threatening. One shot which I found particularly interesting was one of the female character, where her face was partly in shadow. This connotes a murky past, which was further confirmed when she said "I'm not a part of this anymore" ("anymore" being the operative part).
A lot of fade to blacks and fade from blacks were used, and this made the opening quite slow in pace. But this still worked very well since their opening seems to be much more character-driven than action-packed.
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I noticed that most of these opening sequence had very little (if any) dialogue. I can see why these groups had to do this, and I think that for my own thriller not having too much dialogue could be a good idea, since a lot of dialogue can complicate things when shooting. But I suppose, since we have better sound equipment this year than in previous years, it may not be so bad. But still, I don't think I want to put too much dialogue in my thriller opening. I think having a bit of dialogue is fine, and probably a good idea, but not too much.
Most of the openings weren't really very fast paced, and I think that would be a good idea for my thriller opening too, since having a film opening being too fast paced can be extremely confusing for the audience. Having a slower pace can also build up to a final event (or something similar) really well.
All of the opening sequences had a range of shot types, with shots being taken from different angles and levels. I think that this is extremely important for my own opening sequence since having a range of shots makes sure that the audience don't get bored.
Most of the opening sequences also had quite low [artificial] lighting, which was very effective since it helped to create lots of shadows and a very thriller-esque atmosphere. I think that low lighting would be good to use in my own thriller opening, but I can see how getting the lighting just right could also become a problem.
The majority of the opening sequences only had 1-4 characters in them, and I think that this is probably the best way to go about things, since it ensures that you won't end up complicating things by trying to organise shooting times for a large number of actors.
So, overall I think that looking at previous students' opening sequences was very helpful and enabled me to find out what works and doesn't work both when shooting and with the end result.
Wednesday, 24 October 2007
Zodiac Opening Sequence
The film starts with the Paramount and then the Warner Brothers logos on screen (I'm not entirely sure what the proper name for these are). In the background there are sound effects of fireworks fizzling. Then a black title screen comes up with the words "What follows is based on actual case files" on it. A song starts playing and then there is an establishing extreme long shot of a bridge and San Francisco skyline, with fireworks going off in the distance. There is then a tracking shot of some houses, taken from inside a car, with the car window as the frame within a frame. Then the words "July 4, 1969 - Vallejo, CA" appear over the shot. The car stops and beeps its horn. We then see a man closing his front door and jogging towards the car/camera. He leans through the window and says to the driver of the car "Where have you been? I've been waiting since 7". There is then a reverse shot (Medium shot) of the driver, who is a blonde haired white woman telling the man "Get in. I had to find fireworks". There is then some more dialogue between the characters and then the man gets into the car. We see the car drive away and then it cuts to the car driving up to a diner. The woman says that it's too crowded and they should go "some place quiet" , the man says okay and then it cuts to a very/extreme long shot of the car parking in a deserted area. The characters talk some more and it is made clear to the audience that the man and the woman are a couple or will potentially become a couple soon, since the woman starts flirting with the man. Characters in two other cars throw a small firework at the man and woman's car. The man swears at them as they drive off. The woman starts to gently make fun of him. The camera tracks sideways as a car pulls up behind the man and the woman's car. The man and the woman turn around and try to see who's in the other car, but the other car is totally dark on the inside. The man asks if the other car was at the diner and says he definitely saw it there. The woman tells him to "shhh...". Both characters start to look very anxious.
Man: Do you want me to tell him to leave?
Woman: Stay in the car.
The other car then drives off.
Man: Was that your husband?
Woman: *staring out of the car window* No.
Man: Who was that Darlene?
*she turns around to face him*
Woman: Don't worry about it.
Man: Don't tell me not to worry. Who was it?
Woman: It's nothing
Things seem to have become awkward between them, since they both start looking down at their laps. We then hear the screech of car brakes and the two characters watch as the other car drives back towards them. Darlene says "Oh shit" then the man begins to look more panicked and says that they should go. The person in the other car gets out of the car and then starts coming over to their car and is holding a torch, making the character unrecognisable to both the audience and Darlene and the man. The character from the other car walks from the back of Darlene's car, to the car window the man's sitting by (this character still cannot be seen properly). Loud rock music is also playing on the radio. The man then says "Man, you really creeped us out". The other character repeatedly shoots the man and Darlene. All the while, this character's face is completely in shadow. The other character begins to walk away, then comes back and shoots the man some more. Then he/she walks back to his car and the screen fades to black.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I thought the opening of Zodiac was very effective. It did a similar thing to Scream in that both films started by showing the first 'disruption' (as in Todorov's narrative structure theory). I liked the way that the opening sequence leads the audience in one direction (particularly if they have no prior knowledge of the film or the real murder case that it's based on) and then there's a plot twist. So, the film starts sort of like a romance film, there's lots of fireworks and happy people, then the audience is introduced to a couple. This makes the audience think that the couple will be the main characters of the film. But then there's a plot twist since the characters who the audience think may end up being the main characters are killed within the first 5ish minutes. I also liked the use of enigma. At the beginning of the film, we can see that some of the shots are from inside a car. This makes the audience wonder who's car it is and where the car's going. Then when the man is talking to the person in the car, the audience wonder who he's talking to. This enigma goes away fairly early on in the opening. Enigma is used again when the man and the woman are shot. The murderer character is holding a torch in his/her hand, which casts a shadow over his/her face, making him/her unrecognisable. This enigma effectively sets up the rest of the film, since it becomes apparent that the film will be about trying to find out who this killer is.
I've already mentioned this in another blog but just to re-iterate...
1. I think that enigma in a thriller opening is very important
2. Showing the disruption of equilibrium before showing the equilibrium itself can be very interesting.
Man: Do you want me to tell him to leave?
Woman: Stay in the car.
The other car then drives off.
Man: Was that your husband?
Woman: *staring out of the car window* No.
Man: Who was that Darlene?
*she turns around to face him*
Woman: Don't worry about it.
Man: Don't tell me not to worry. Who was it?
Woman: It's nothing
Things seem to have become awkward between them, since they both start looking down at their laps. We then hear the screech of car brakes and the two characters watch as the other car drives back towards them. Darlene says "Oh shit" then the man begins to look more panicked and says that they should go. The person in the other car gets out of the car and then starts coming over to their car and is holding a torch, making the character unrecognisable to both the audience and Darlene and the man. The character from the other car walks from the back of Darlene's car, to the car window the man's sitting by (this character still cannot be seen properly). Loud rock music is also playing on the radio. The man then says "Man, you really creeped us out". The other character repeatedly shoots the man and Darlene. All the while, this character's face is completely in shadow. The other character begins to walk away, then comes back and shoots the man some more. Then he/she walks back to his car and the screen fades to black.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I thought the opening of Zodiac was very effective. It did a similar thing to Scream in that both films started by showing the first 'disruption' (as in Todorov's narrative structure theory). I liked the way that the opening sequence leads the audience in one direction (particularly if they have no prior knowledge of the film or the real murder case that it's based on) and then there's a plot twist. So, the film starts sort of like a romance film, there's lots of fireworks and happy people, then the audience is introduced to a couple. This makes the audience think that the couple will be the main characters of the film. But then there's a plot twist since the characters who the audience think may end up being the main characters are killed within the first 5ish minutes. I also liked the use of enigma. At the beginning of the film, we can see that some of the shots are from inside a car. This makes the audience wonder who's car it is and where the car's going. Then when the man is talking to the person in the car, the audience wonder who he's talking to. This enigma goes away fairly early on in the opening. Enigma is used again when the man and the woman are shot. The murderer character is holding a torch in his/her hand, which casts a shadow over his/her face, making him/her unrecognisable. This enigma effectively sets up the rest of the film, since it becomes apparent that the film will be about trying to find out who this killer is.
I've already mentioned this in another blog but just to re-iterate...
1. I think that enigma in a thriller opening is very important
2. Showing the disruption of equilibrium before showing the equilibrium itself can be very interesting.
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