Sin City opened to wide critical and commercial success, gathering particular recognition for the film's unique coloring process, which rendered most of the film in black and white but retained coloring for select objects. The film was screened at the 2005 Cannes Film Festival in-competition and won the Technical Grand Prize for the film's "visual shaping."(wikipedia)
I looked at Sin City again , afer the black and white effect used in the Opening in Casino Royale inspired me to think of applying a similar effect in post production to our film. I think that Sin City is given such a dark and sinister tone through the black and white effect , with such bold high contrast and black and whites, it helps add meaning behind the narrative and connotes it to the auience extremely well. If using an effect like this in our thriller then i think for the film noir plot it will suit better if using higher contrast than casino royale. Especialy for an opening sequence this will impact more on the audience, so Sin City could be a big inspiration here.
This is one of my favourite films. Now that we aare going with the tortue scene , and a chair , i have lookwed at this particular scene again.
I like how the villain toys with the victim, and he does not know what will happen next, then out comes the knife. I then like the toying with the victim, the fact that he knows what is about to happen, but the surel music and man dancing are not ready to hurt him yet.
I think in our torture scene if we were to toy with the tied up victim , either by shooting a blank at him, or laying out all the torture instruments in front of him, it would make our femme fatal seem even mmore sinister, and give the film an ever darker underlying tone.
This is from the first scene to the new James Bond thriller Casino Royale. I have taken quite alot of inspiration from how this scene is lit, to the black and white effects that have been applied. This scene begins with a long establishing shot. I like how this sets out the location for the soon to happen events. I will hopefully use some longer shots at the beggining of my thriller opening to set out the location. The most effective part to this scene i think is how it is shot in black and white. This emphasises the dramtics of Bond killing in the bathroom. And makes it a clearly bold action, which impacts more on the audience. With my thriller it would be very interesting to experiment with a similar effect, as it would be simplistic and effective. The blacks that this creates are also a lot stronger , and add to the thriller signifiers Eg when bond is sat in the chair the dark shadow across half of his face are emphasised, linking to his dark side that has killed, for which we get flashes to. If i use black and white, then also making the contrast higher would improve the thriller appeal of my opening, and would help it look more proffessional rather than student film. I also think that the framing of close ups to the face, is inspiring, and will help me to follow the rule of 3 quarters.
Our group has been looking at doing a female revenge thriller. our discussions so far have led us into thinking of doing a torture scene, in an underground basement, with our male victim being tied up to a char and knoced out. I have lloked at this Casino Royale scene, as it is in my view brilliantly shot, and the mise en scene is extrmely effective. This sceneuses a great variety of shot distances, andgles and movement. All which make it interesting to watch. The low angles we have of Bond when he is thrown into the chair, show that he is still a strong character, despite being in such a desperate situation. Hinting he is not going to give in any secrets, and may escape. I like the low angles and framing, and when focusing on our male victim tied up it wuld be worth using varying angles including low. THere is one shit i particularly like, of the villain walking past the camera, which focuses ona closae up of his hand, panning to the left as he walks forwards to wards the chair. THis pan shot shows off the location ell, and brings the audiences attention to the rope in his hand, leaving us tense over what will happen next? What is the rope going to be used for ? . With our threiller, if using Emmas location. We could adopt this pan shot, and apply it to a different angle perhaps. we could have it from behing our victim as he is tied up, panning accros the room as the female killer paces around the room with a weapon.
I also really like the shot when the villain walks up to Bond, places the end of the rope on his shoulder, then bends down and speaks in to his ear. I think it shows a possible weakness of the viallin, as he is now sinking down to Bonds level of control over the situation. Signifying at what might come. I would like to use this in our film if we proceed with a female revenge thriller, as it would effectively play on the role reversal of power and sexuality between men and women.
There is another intuitive shot used here as well. From ground level through the chair legs. I like the framing in this shot, and we could use it to show our female role entering the scene, leaving her identity as enigmatic as possible for longer.
This scene is lit harshly over bond. With lack of light in a lot of areas. This makes us focus on Bond and the centre of the room, highlighting this action. We should consider this when lighing our location.
The mise en scene is also good. The central position of the chair, and the decaying, very underground urban look add to the theme of isolation. something we want to achieve in our thriller. This scene overall has inspired me withh shot types i want to use in our opening, and is also a good guide for our lighting and mise en scene.
I really like the titles for tyhis film . the graphics of them is really well done, and links in with the story perfectly. It is good inspiration to be more ambitous with our film titles. Like Running scared i like the graphic , and cartoon look of them. With our opening, although we will not have time to make anything like this, i would like to implement some form of titles that are not just the conventional text, on a blank screen , or superimposed ove rthe video. I think we could have blood splatters moving across screen, or sometihng like that. As if we go with revenge, and end it how we are currently thinking, then blood will be a goood signifier of the genre. And if going with black and white it would give our film an interesting colour scheme of black white and red. All generic colours to thriller . Hopefully i will be able to get some of the shot types, colouring effects, and titles to work with our film and improve it.
In Dawn Of The Dead the world is hit by a strange plague that turns dead people into flesh-eating zombies. The zombies are out to kill everybody who is still alive. Once you are bitten, you die and return as a zombie. A group of survivors go to a shopping mall to find shelter. They begin to run out of food and then the lights go out. The survivors come up with a plan to escape to an island, but first they must get past thousands of zombies. They use the mall's shuttle busses to make their escape after the zombies break into the mall.
Opening Sequence
The first shot only flashes up on screen for less than a second. it is of a bloddy mouth. So immediately the audience is shocked and engaged with the danger. The first title of this opening sequence, is an animated graphic. It gives us the film name, which is in red, connoting to the audience blood and gore. The title then explodes like splattered blood. Setting up audience expectations for zombies, and blood spill.
The other titles are cut to be superimposed over the footage. So we focus on them. They are similar to the first title. Red in colour again connoting danger, violence and impeeding death, but instead of exploding the credits turn to blood which appears to drain away, perhaps hinting to the audience these characters die.
The camerawork in the opening is shot to create the same effect asd Danny Boyle in 28 days later. It is like a documentary, so making the audience feel mroe threatened and involved in the plot. It is really effective as you are instantly drawn in to the idea of the story, and plays on societies fears as a whole.
The ordinary on location settings, add to the way th efilm is shot as audiences can relate to the settings, as they are those of an every day town or city. Adding to the thrill the audience experierience as it is made more believable.
I think for my opening i will, use credits which are on screen by themselves cut between different parts of footage , as in Dawn Of The Dead, as it creates a good effect. An introduces you to the film well.
Me and Mike were analysing this clip as we were interested in a gangster thriller, and have looked at all the technical aspects so we have a better understanding of how to make our own thriller even if it is not gangster more effective.
Camerawork
In this scene camerawork is used a lot to emphasise the action taking place. For instance handheld is used in virtually the entire scene as it creates and air of realism and makes the film more gritty. As well as this the audience in several scenes are put in the place of the gangsters with this technique and so it appears like a POV shot. This is most notable when the camera is OTS of one gangster, but once he gets shot, the camera tracks over to another gangster just to the side of him, still with blood on the lens. This also makes the clip appear more like a documentary and so adding to the realism that the director is trying to put across. This is also conveyed with the quick zooms of the camera, as it moves into the action.
There is a number of OTS shots in this clip as not only does it give a sense of direction of where the gangsters are firing, makes the shootout more intense. This is especially true as we look down the crosshairs at Crockett with Isabella, as we as the audience sympathise with them, and do not want them to die.
Frames within frames are used at the beginning of the scene. This gives the feeling of being watched and adds to the tension just before the shootout.
Reverse tracking shots are used of Tubbs as he is advancing to one of the main Cuban villains. This camera angle gives the impression that he is moving at pace and it looks quite menacing, as we see him full on with shotgun. This emphasises the characters determination.
Low angles and hyper masculine framing is used often in the scene in order to make characters look more dangerous and imposing. For example the shot of the main Neo Nazi as he fires his automatic rifle looks powerful as the camera is at a low angle, therefore emphasising his height and making him look more dominant.
The shot of the main Cuban villain reloading we see Jamie Foxx running in the background. This is a continuation of the previous scene and is a good example of continuity of action.
Mise en scene
It is easy to tell who the gangsters are in this scene due to how they dress. A lot of them are wearing dark suites and pinstripe which are both clear connotations. As well as this the excess of gold jewellery which they wear show their excessive and rich lifestyle. This greatly contrasts with the modest silver watches and badges of the police. The large flashy cars that the gangsters drive also signify their power.
Crockett, Tubbs as well as the other policemen wear bullet-proof vests and communicate with walky-talkies connoting that they are more advanced than the gangsters and work for some kind of law enforcement agency. The comparison between the gangsters and the cops can also be seen in their hairstyles. While all the gangsters have uncontrolled beards and straggly hair, the cops have a well groomed appearance.
The location of the dockyard is put across with the two ships and the numerous bits of ropes and the huge truck tyres. Overall this location has a very industrial feel as a result. The fact the scene is set at night adds a lot of confusion, as we cannot see everything which is going on. As well as this it signifies the fact that the difference between the cops and the gangsters is not that huge.
Artificial light is used in the scene, mainly from the cars headlights, but I expect another source was used in the filming as well. This adds to the industrial and man made feel of the location. The lights also add a lot of shadows to the scene. This is perhaps most notable when half of Gong Li’s face is cast into darkness. This signifies the split of her personality, between the side which loves Crockett and wants a new life, and the old criminal and repressed side. The shadows also make certain characters look more menacing. For example the shadows of the SWAT team members along the side of a crate. The Night time setting is typical of the genre as a whole.
All the characters in this scene seem to be wielding large rifles or submachine guns rather than pistols. This is typical of the action genre as normally bigger weapons signify the character has more power and thus can inflict more damage.
Sound
In this clip, there are both Diegetic and Non Diegetic sounds.
The non diegetic sounds are used to build up tension before the fighting breaks lose. This is done with first drums and strings slowly picking up in volume level and speed. This creates suspense and signifies to the audience that there may be impeding violence. The sound then fades out, as the fire order is given. This is done to show the importance of the action, and not distract from it.
When the shoot out has started, percussion fades in at a low level, this is at a faster pace to the previous music and increases the tension and makes an aggressive atmosphere for the scene as well as helping maintain the pace.
After the soot out has finished and we have had the slow motion of when the villain boss is killed, strings fade in over, the percussion, which are slower in tempo and match the slowed pace of the film. This music is more dramatic and creates a reflective mood, which also allows the audience to take in what they have just seen. The music then changes to a Cuban influenced peace of bass, and drums. This music is faster tempo and allows the slow motion to come back to real-time. The music also signifies the end of the danger, and that the Cuban mob has been defeated. This then allows for the next plot development in the film.
Diegetic sounds in this clip are gunshots, gravel, ricochets , glass breaking, and all add to the realism of the clip.
SFX
This scene uses a number of special effects to try to get across the idea that this is a shootout. For instance we can presume that all these guns are firing blanks. But we believe CGI was used to enhance the flashes emitted from the barrels to enhance the action. Or possibly was composite in over the footage in a program such as after effects.
Squibs and small explosive devices are also used a lot in this scene for when we see walls and cars being shot at. In the case of the walls we presume that at least some of the wall was made out of some form of plaster cast to give the right effect when the explosives went off.
The same could be said of the car windows which were most probably made out of some kind of fibre glass for health and safety reasons. Squibs filled with fake blood were used for the percentage of times when people got shot, although sometimes this can be too dangerous for the actor if they are placed near the head. This is why when the main White supremacist gets shot in the head we believe it is done with either CGI, prosthetics or perhaps both to give the right effect.
When the main Cuban villain gets shot by Tubbs, a program similar to after-effects must have been used in order to show the blood splatter from his body. As well as this the hole in his chest we deduce is a prosthetic chest plate under his shirt.
Editing
The editing used in the 5 minute clip from Miami Vice is fairly generic to the action genre, and especially a fight or shoot out scene.
Throughout the clip, there are no transitions , dissolves, or fades, the cuts are all straight cuts. This builds up the pace of the scene as cuts become faster, and helps maintain it. If dissolves or fades were used the audience would have become confused as normally these are techniques used to show time passing, hence why straight cuts are used, and are effective in creating a pace to the scene which matches the frantic emotions and action on the characters.
The selection of shots that the scene starts with are of the police. This is to reinforce that we in fact want the police to succeed and are supposed to be on their side. It also signifies they have the upper hand in the situation, as we see them initiate the firing.
But when the real action in the scene has started, we see a higher percentage of shots from the Drug dealing Neo Nazis point of view. The purpose behind this is to increase the audiences understanding of the villains in the film, and why it is essential for the police to succeed. It also has the effect of highlighting the team work and unison of the police, as they cleverly take down villains one by one.
Throughout the scene there are a lot of close ups from the villain side of the shootout a lot being over the shoulder shots, which are then cut to medium shots of the police reaction to this. Thos shot order maintains the pace created for the scene, and also increases our understanding of the danger being faced.
In our medium reaction shot of the police, we see them fire back at the villains, and the scene then cuts to the Villains reaction. This technique is a classic example of shot reaction shot. And is the editor is creating narrative structure out of a busy chaotic scene, so that the audience can at least understand who is shooting at who.
But however the scene is cut so that the audience has a basic concept of what is going on its editing style also means that there is a vast variety of distances and angles. This adds to the chaos of the scene, the franticness, and confusion of the situation for the audience, which mimics that of the police who are in the situation.
There is also interesting use of slow motion, where the film is slowed down to roughly ¾ speed, as the main villain is killed. This gives dramatic effect, and highlights to the audience the importance of the character just killed, and the start of the resolution to the scene.
There is a certain pace that is set up within the scene and when slow mo is used it is to say look important reaction shot. Eg when the Cuban before he is shot in the chest, there is a slowed down extreme close up of him , which if real-time would be too short to notice, and would also disrupt the pace of the scene. Editing is used throughout the action like this so the audience absorb key events or reactions to heighten the understanding.
Some of the slow mo is replacing what in conventional films, would be a close up, that lasts half a second. The medium shots that are used frequently take longer for the audience to understand and take in , therefore the slowed speed gives us more time to understand what is going on.
The deliberate cutting between different parts of the action, ensures the paces as well as excitement is maintained. If the scene stuck with one characters action for too long it would not be very interesting and would also mean the scene lacked pace.
The opening sequence for the film 'Se7en' is highly effective. THisopening sequence is itself very enigmatic. The shots used are all close ups of different objects, as a person does something. We are not shown details of this persons face, and it is difficult to piece togethor exactly what is going on. The use of consistent close up shots build up a feeling of obsession. This enables the film to develop and give the audience a sense of what is going to be happening at the start of the film. The font used, is very non conformist, it is scribbly, and not faded in and out slowly, but rather the text flashes, mirrors and mvoes around. This technique also strengthens the connotations of the genre. Because of the large number of close ups, the audience are left gripped , wondering what this person is doing. Thus i think this is an extremely effective opening sequence. The music also matches the title effects, and diorientates the audience more.
I was going to analysae how the credits are incorporated to the beggining of this film, but have remembered that their are not any credits for creaters , director etc fo the film.
The film is all shot to create a sense of realism, the film has no credtis at the beginning to make it appear more documentary in style, the effect Danny Boyle wanted to achieve for the film. It is straight in to the action, with footage shot as if it is a news story.
As there are no credits to analyse i am going to look at the opening to Dawn of The Dead.
There are not a large amount of blockbuster UK Thriller films made nowadays compared to the number of US made films. But the ones which have done well such as the recently released Sunshine , and previously 28 weeks later, the sequel to 28 days later, as well as early films from the 90s like Shallow grave were all directed by one Uk director. The director being Danny Boyle.
I was looking at the oipening sequence to 28 days later, and analysisng particularly how the credits are incorporated, also doing some research about the film , when i found out that it was made on a very low budget (only 5 million). I personally think the film is good, and takes the zombie sub genre, and utilises it well. Especiallly as the film became such a hit, i think it is a considerable directoing achievement.
Below is some information on the films success (wikipedia)
The film was a considerable success at the box office and became highly profitable on a budget of about £5 million ($9.8 million). In the UK, it took £6.1 million ($12 million), while in the US it became a surprise hit, taking over $45 million despite a limited release at fewer than 1,500 screens across the country. The film garnered around $82.7 million worldwide. Critical views of the film were very positive (with a rating of 89% at RottenTomatoes[3]) the L.A. Times describing it as a "stylistic tour de force", and efilmcritic.com describing it as "raw, blistering and joyously uncompromising".
On the DVD commentary, Boyle and Garland frequently call it a post apocalyptic, horror and zombie film, commenting on scenes that were specific references to George A. Romero's original Dead trilogy. However, during the initial marketing of the film Boyle did try to distance the film from such labels. Boyle identified John Wyndham's The Day of the Triffids as Garland's original inspiration for the story[2].
I was interested into researching more about Danny Boyles other work and how he got into directing film.
The below is his Road To Succes (wikipedia)
Boyle made his feature film directorial debut with Shallow Grave, an instant commercial and critical success. Next followed the film Trainspotting, based on the novel by Irvine Welsh. Besides being quite successful, the film is considered among the most influential and iconic British films of the 1990s.
Previously known to work with writer John Hodge, producer Andrew Macdonald and actor Ewan McGregor, in the internationally acclaimed Trainspotting, Boyle relocated to Hollywood to seek a production deal with a major US studio. He declined an offer to direct the fourth film of the Alien franchise, instead making A Life Less Ordinary using British finance. Boyle's next project was an adaptation of the cult novel The Beach. He then collaborated with author Alex Garland on the post-apocalyptic zombie film 28 Days Later. In 2004, Boyle directed the Frank Cottrell Boyce scripted Millions. His science-fiction film Sunshine, starring 28 Days Later star Cillian Murphy, was released in 2007. Boyle produced the sequel to 28 Days Later, 28 Weeks Later, released on May 11, 2007.
Focusing on 28 days later i found that the general consesus on his directing style is "eclectic, adventurous and daring. This fearlessness has also lead to some uneven films as well. You can say this is a filmmaker whose best work is still ahead of him; yet his artistic output shows an inventiveness and versatility that matches even Sam Raimi."
I think when making my thriller i should look again more closely at his opening to 28 days later, as well as sunshine as he is clearly a renowned British director, and it would be good if i was to possibly use his opening sequences as an influence into making my thriller sequence more British in style, rather than basing it on American concepts.
I also looked on IMDB to see if there were any trade marks or conventions that he applied to his films, that may inspire me towards a more British styled film , and i found the below.
After rewatching Inside Man, and being inspired by it, i have done some more research into the accalimed director behind it Spike Lee.
(From who2.com )
Spike Lee made a name for himself in 1986 with the hit independent film She's Gotta Have It, a frank comedy about the many lovers of an independent Brooklyn woman. The film established Lee as a rising black filmmaker (a rarity at the time) and his skills and independence, along with his outspoken African-American perspective and feisty public persona, kept him in the public eye into the next century. In later films he continued to tell stories with racial themes and New York settings, including the Brooklyn drama Do the Right Thing (1989), the jazz-tinged Mo' Better Blues (1990, with Denzel Washington and Wesley Snipes), the interracial romance Jungle Fever (1993, with Snipes and Anabella Sciorra), the biopic Malcolm X (1992, starring Washington and based in part on the book by Malcolm X and Alex Haley), Summer of Sam (1999, with John Leguizamo), and the controversial racial satire Bamboozled (2000, with Mos Def). Lee and Denzel Washington reunited for the mainstream heist thriller Inside Man in 2006. Lee has often appeared in his own films. (who2.com)
His films frequently involve African Americans and African-American themes. Films called "A Spike Lee Joint"
Frequently has characters directly address the camera. Frequently places actors on dollies to achieve a gliding or rotating effect against the background of the shot.
His films often have the phrase "Wake Up!" as in an urging to the awakening of maturity and social conscience.
Baseball: Every one of his narrative feature films makes reference to baseball teams and players.
The opening sequence to Inside Man is very different to the usual thriller. In the sense that the audience is addressed directly by a character, breaking the concept of almost all other thrillers that we the audience, are only on lookers of the action, and are distanced from it.
Inside Man opens with a closeup of Dalton Russell (Clive Owen) sitting in confinement, though the location of the cell he is in is not revealed. He muses, to the audience, the difference between a cell and a prison. In a self-important tone, he offers to explain to the viewer his "perfect" plan for a bank robbery.[1]
The film flashes back to the robbers gathering in a van to prepare for the heist. (This begins the timeframe that will carry most of the film; though there are several flash-backs and flash-forwards within). Led by Russell, the robbers enter a bank disguised as painters. They first use infrared flashlights to knock out security cameras. They then brandish firearms and begin taking over the bank.
Meanwhile, the police show up and surround the bank. Detectives Keith Frazier (Denzel Washington) and Bill Mitchell (Chiwetel Ejiofor).
I am looking mostly at the opening sequence to the film, as it is what i have to make. The opening sequence really stands out to me because of the direct address to the audience, which immediateely made me feel more involved with the film, as well as interested as to whether we were given a small amount of priviliged information characters in the film would not know. The fact that at the end we see where Russell is hiding has inspired the film title and brought the narrative full circle gives a sense of accomplishment to the audience, i was also impressed at how the complexities in the plot were all tied together by the end to give a clever finish.
Again like Running Scared where the narrative begins not at the start, but at the end of the plot, i thought was a clever technique , the fact there was direct address also made a large impact and made me engage and focus on the film in greater detail. An idea i could possibly incorporate with my thriller, although dialogue can be difficult in terms of sound quality and acting skills.
I thought the mise en scene when Clive Owen is addressing the audience was extremely well done. The dark shdowy light created enigma as to where exactly this character was?. Its setting was also effective in creating a sense of entrapment which was done with the closer moving brick wall. The camerwork also created this with a medium close up.
The transition from this direct address , to a different time in the narrative, was done with a dissolve clearly showing to the audience that time had either passed or we were backwards in the narrative.
The music that accompanies the opening to Inside Man is also extremely unusual, being Hindu (Chaiyya Chaiyya ). It is infact a bollywood hit song from a extremely successful bollywood film. This reflecs Spike Lees of representing different cultures in his films, and he has creatively combined Bollywood with Hollywood to create a great effect. Spike says himself "I've been blessed with the opportunity to express the views of black people who otherwise don't have access to power and the media. I have to take advantage of that while I'm still bankable." I think it adds a considerable amount of individuality to the film, and its opening sequence is more memorable, as the usual hip hop track could have been used here, but wasnt, making it different. Maybe in my film i could use a boldy different music choice like this.
The step backwards in the narrative, then continues the film from the start of the Heist where we follow the team of painters , soon to be bank robbers on their journey through the city towards the bank. The music makes the opening more pacey, and after the direct address means the audience is expecting action.
The sequence also cuts away to different parts of the citys monuments. Such as the bull, to help show where the film is set, and give the audience a greater concept of the surroundings after the enigmatic, and confined shots from Clive Owen when he in trapped.
This films opening sequence has inspired another idea. Similar to my first and similar to Inside Man, it would begin at the closing stages of the film. In this case with our gangster or mentally unstable physco killer (still not sure which character it would be yet) arrested and placed in a grimy police cell. Here they would look dirty, and sleep deprived , staring into empty space. The camera would then ease in on them focusing on their face, and blurring the foreground. The character would close their eyes slowly as if drifting to sleep, then suddenly we would have white flashes, and a montage of shots from hat would be the last 3 weeks would flash up. Him kiiling people, gunfights or shots, a girl, police, all shots would probarbly contain common signifiers of the thriller genre. Then suddenly the last shot would be of red blood cells in the blood stream ( Like the medical shots showin in House )the camera would then zoom out of the body, through a bloody cut , and shirt to a low angle of our physco with a chainsaw, or axe, or the gangster in a sharp looking suite with a gun. In both shots though we would be focusing on their eyes, which would suddenly open. And in the case of the gangster scenario , we would be in some sort of grimy hide out most likely urban where he is reloading his gun, about to shoot another gangster. He shoots him, and there are blood splatters and stains on the floor etc, as the other man dies and falls to the floor. He then heads for a door, we have a close up of his hand opening it. Then a long shot from outside in the street as he opens it ( chance to use continuity editing ) and walks outside , then walks along the street. I think here we could then slow the shot down for a dramtic effect and have agressive, yet reflective music over the top. With credits either superimpose over the footage, or coming up in the corner. The idea behind the gangster scenariois he wants out of the mob, and they see it as betraal so put a hit out on him. In order for him to escape he has many people to kill. And eventually is arrested for one of them.
The idea for the physco character would be similar in most ways. Except he may be with an axe, holding a young blonde girl or women hostage. Police outside ordering him to let her go. Eventully he brabs her by te nck and opens the door to a simialr location as the gangster would be and we have the same shot of him and his victim walking along the road. With credits.
I think both of these ideas are ambitious and i probarbly havent descbribed them very well,but ould be possible to do well if planned enough with te right locations and actors. Plus i think the chance to use special effects would really impact on the audience.
After recently watching the departed again, and deciding i would like to make a gangster thriller, i thought i should research a little about the genius behind the directing that won it 4 oscars.
(From the Columbia Encyclopedia)
Martin Scorsese , 1942-, American film director; b. Queens, N.Y. A major figure in contemporary cinema, he grew up in Manhattan's Little Italy, attended film school at New York Univ., made his first feature-length film in 1968, and scored his first success with Mean Streets (1973). Often dealing with violent and obsessive aspects of modern America and focusing on Italian-American characters, Scorsese's films frequently feature a struggling hero and themes of sin and redemption. His major movies include Taxi Driver (1976), a harrowing urban morality tale; Raging Bull (1979), a look into the savage world of boxing; Goodfellas (1990), an exploration of the brutalities of Mob life; and Gangs of New York (2002), a violent epic of life in Manhattan's 19th-century slums. Among Scorsese's other films are Alice Doesn't Live Here Anymore (1974), New York, New York (1977), The King of Comedy (1983), The Last Temptation of Christ (1988), The Age of Innocence (1993), Casino (1995), Kundun (1998), The Aviator (2004), and The Departed (2006, Academy Award). His documentaries, A Personal Journey with Martin Scorsese through American Movies (1995) and Il Mio Viaggio in Italia [my journey in Italy] (2001), reflections on great filmmaking in the United States and Italy, provide revealing glimpses into the influences that have shaped his art.
His lead characters are often sociopathic and/or want to be accepted in society.Extensive white lighting in scenes of his films.
Often uses diagetic music (i.e., source of music is visible on-screen).
His blonde leading ladies are usually seen through the eyes of the protagonist as angelic and ethereal; they always wear white in their first scene and are photographed in slow-motion (Cybill Shepherd in _Taxi Driver (1976)_ ; Cathy Moriarty's white bikini in Raging Bull (1980); Sharon Stone's white minidress in Casino (1995)). As the movie progresses, these ladies usually prove to be anything *but* angelic.
Often uses long tracking shots (a notoriously difficult shot to perfect) which is why he has been dubbed by some as the King of the Tracking Shot .
Often uses freeze frames (e.g., Raging Bull, Goodfellas, The Departed)
Frequently uses music by The Rolling Stones ("Mean Streets", "Goodfellas", "Casino", "The Departed"), especially the song "Gimme Shelter"
Often begins his movies with the childhood of his main characters (Alice Doesn't Live Here Anymore, Goodfellas, Kundun, Gangs of New York, The Aviator, The Departed)
This is also a gangster thriller like wanted. But it creates a more sinister ambience, through the narrative, camera angles and accompanying music.
The camera angles, make it very clear who the protagonist is and that we are meeant to be on her side. The credits of this clip break up the sequence, which allows movement of the narrative to cards then a record player. The dull lighting creates the effect that a sinister event is about to occur, whether crime related or not. THe signifiers of the clip further connot the thriller genre , such as the dress code, suits, and dresses, as well as the gun. Many of the camera angles are POV shots, which helps the audience empathise with the protagonist more. The villain character is made clear by the lighting, as he is often cast in shadow, connoting mystery nd evil. Our female character also has shodws cast over her in some shots, connoting that she has a dark past, involved with crime but now wants out.
I think that this thriller is one of the more interesting form previous years. I think it is successful as well as it uses more actors than the other thriller openings. It also has alot of signifiers for the genre, it is made clear early on from the dress codes of the actors that, this is a gangster film, with sharp suits, and cutting cocaine. As well as the smoking of cigars, signifying authority, and money. Which is also shown by the game of poker. A game associated with gangster films.
The lighting therefore mise en scene in this opening i also think is effective as it shows up enough detail on chracters faces, without being too harsh, adding relaism that this is a late night game of poker.
I think the first shot of the opening, is very interesting and eases you into the film ,setting up the narrative, and the audiences expectations.
The film gets better when it progresses and we see the drugs being cut, the use of fades to this part also helps us understand time has passed.
There are some points i think are sightly negative though. Firstly the actors playing the gangsters do look too young, which sort of ruins the effect that the scene does create. I also think that the music could of been better, and would maybe change that. I also think that the opening moves too slowly, and would impact more on the audience if it was shot or edited a little quicker. Although it does set the scene as it is.
Lastly the room / location is ok, but does look alittle ordinary, neither too grimy or extravogant to be a convincing gangsters hide out.
Inspiration for my first idea has just come to me after watching The Runaway Jury. The runaway Jury is a court drama/thriller. This suspense-thriller takes place in a New Orleans courtroom, where John Cusack plays a juror in a trial against the gun industry. Cusack is involved in a conspiracy with his girlfriend (Rachel Weisz), who offers to sell the verdict to either side for millions. Gene Hackman plays a jury consultant hired by the gun manufacturers to make sure they win the case.
In brief the film follows a landmark trial a woman is taking the gun companies to court for compensation after a major family loss. Leading the defence for the gun companies is the constantly victorious Rankin Finch (Gene Hackman). A regular at fixing juries in his favour, Finch finds himself facing a challenge this time when a couple, one a jury member (John Cusack) and one working behind the scenes (Rachel Weisz) decide to make money out of the same skills Finch employs so successfully.
What I found interesting in this thriller that gave me my initial idea, is the way the outcome to the trial is being manipulated by the hired lawyers for personal gain. The outside influence which leads to events outside the courtroom I find this an interesting concept. It reminded me of witness interrogation that I saw recently when I watched Outlaw, and the prosecutors wife is threatened, then stabbed killing her and her baby.
The Runaway Jury has made me think of using a trial of some sort as a possible concept to base the plot of my thriller on . I however would also like to include a Gangster element to it, which leads to my initial idea. I am thinking of setting the opening to my thriller in central London, as it is associated with authority, and wealth, plus is commonly used as a setting for gangster films. So the basic plot behind my idea so far is like this.
An older mob boss, similar to the type played by Michael Gambon in Layer Cake. Has control of the majority of drugs that are entering and are sold in London. He decides who distributes them etc. We then have another younger , lower ranked drugs dealer, and his associates, he is one of The bosses distributors for a certain area or borough of London. He has decides that he wants out of the profession, after one last big deal for him to live off. This is where things go wrong. The last big drug trade is raided by the police, and our lower ranked dealer is arrested. But is given the option to help the police build a case against the Drug lord. Or obviously he will face a long prison sentence. He chooses to help the police.
The opening to the film will not be from the start off all the action, but sort of halfway through the narrative. When a successful case has been made, and the lower dealer and associates are required to give evidence in court to ensure the drug lord is taken down. So the opening to the film , will be as one of the “Snitches” is walking on their way to court through busy central London. It would start off with a long establishing shot, then closer …. etc
Till we can see more detail of who this person is we are following/panning with. Meanwhile I think there would be cross cuts to someone as they are putting on a gangster jacket, black leather gloves, putting a balaclava in their pocket, and strapping a gun in their belt. All the time still cutting between the man walking, shown from different angles and this cutaway. We would then see from a long shot maybe a character wearing the clotes we were seeing being put on. He gets closer, and is wearing the balaclava, until he is behind our “Snitch” whips the gun out, and shoots him. I think there’d would then be a shot of him lying on the floor dead, and credits could begin. The reason the snitch is being killed is, because the Drug lords contacts on the outside have been ordered to eliminate the witnesses on the outside, and make the case against him collapse.
The film could then have scenes explaining the reasons for the case in the past, and plot wise a battle for police to protect the “snitches” as the hitmen as it were attempt to kill them.
I think the concept for the opening is achievable location and setting wise, and also it will only really require 2 actors so should be easier in those terms. However the specifics would need to be refined, plus i am sure i wll have oter ideas too.
The Layer Cake website conmtains sections that give more details on the film, for example a synopsis, characters , photos and the trailer . This i think is effective as these sections could easily give away too much to the narrative of the film, and thus take away the appeal of going to see it. Instead the synopsis tells us no more than we see visually in the trailer, it is like the trailer has been described in this section. It gives enough information on the film to increase its appeal. But is also enigmatic which makes the reader still keen on viewing the film to answer their questions.
(LAYER CAKE, a riveting thriller set in the drug underworld of the UK, marks the directorial debut of producer Mathew Vaughn (Lock Stock and Two Smoking Barrels, Snatch) and stars Daniel Craig, Colm Meaney, Kenneth Cranham, George Harris, Jamie Foreman, Sienna Miller and Michael Gambon.)
The sections on the website are designed to entice people further into the story, as well as provide extra information for people who have seen the film, with the production section.
The colours, layout and design of the site, correspond to the brand image which is created for the film, within the titles of the trailer, for example the text is yellow, which links to the yellow film posters, the yellow website background, and also is a few scenes in Later Cake i noticed a few scenes with a sort of yellowish tint. The yellow also associates with the lead actor in that he is blonde.
In this way i think as a site, used for extension of the marketing of the film it is effective as it strengthens the brand image.
What i like about the site is also how clips from the film, such as Daniel Craig being held at the edge of a rooftop are played whenever a different section to the site is chosen, this i think would increase a potential viewers interest in the film as they would consequently think, why is he being held or pushed of a roof?
Enough is given to create the questions, but none in terms of answers is shown, so the viewer is left wanting to watch the film and find out.
i think eventually when i have made my film opening, that the dvd cover should link to the film in ways like this site, al be it enigmatically.
After watching Layer Cake and Midnight Express i have attempted my own urban thriller shot, and uploaded it now.In this shot we were trying to summarise the film genre Thriller. We tried to achieve this by including common signifiers used in the genre, which play on audiences expectations of a future event, and help build up a greater sense of suspense in many cases, as well as atmosphere or even suspicions of a character. We wanted to a chieve a shot which included a strong feeling of entrapment, and a shot with aspects/props seen commonly in Thriller films, to strengthen the connection the shot make with the genre.The shot signifies a rather strong sense of entrapment and this is constructed by the thick steel gate, and bars across it. The padlock and thick chain represent hriller further, arousing suspicions that maybe a vicitm is hidden or being kept prisoner in the steel rusty shed next to it. A scene or plot which most likely could be found in a common thriller. Furthermore the rusting on the gate is a signifier that perhaps no one has been to this area for a long time and bodies could perhaps be inside. What alao works is the empty playground adding to atmosphere.
Alot is good in the shot, however the lighting is too bright and is not focused on any point of the shot, which in turn reveals too much detail of the surroundings. The litter in the shot also ruins the idea that this place has been deserted for some time. If the shot was at night, with a less obtrusive or artificial light source the shot would be a lot more thriller, and create more enigma codes, and atmosphere.
The first ten minutes show Dan with his expensive flat, and his ideal wife and family home. It also shows his respectable position at the lawyer firm he works at. In the remaining part to Act one the audience witness Dan meeting Alex Forrest, and the clear attraction between them, so we anticipate something to change.
Plot Point 1. The first disruption occurs when Dan risks all he has, when his wife is away visiting her parents. He starts an affair with Alex Forrest. He then tries to end it, and the disruption evolves further when she reacts by cutting her wrists, to try and save/force him to stay. We then see she is serious about Dan and does not want just an affair. This part is around 30 minutes.
Act 2
In this act Alex attempts to get back with Dan after he has broken it off, by calling his work, and then turning up at his office to talk to him. She then after being rejected again threatens to tell Dans’ wife of his affair Dan attempts to resolve his conflict with Alex. , he vacates to the suburbs, changes his phone number, and searches legal advice over a restraining order. Alex however who the audience clearly see is obsessed with Alex discovers where his new house is.
Plot Point 2 The obsession Alex has with Dan becomes more severe, when she threatens to tell his wife of the affair again, and even turns up to the family home, and boils his child’s pet rabbit. Dan realises Alex is dangerous to him and his family, finally seeing the severity of Alex‘s obsession and the potential danger her actions would bring.
Act 3
A resolution is reached when Dan does the right thing and comes clean to Beth over his affair. She eventually forgives him and they both fight off the everly obsessed Alex. The crazy Alex goes further and kidnaps their child, but she is soon returned unharmed. Beth threatens to kill Alex if she ever goes near the family again. The final confrontation on Dan home turf commences when Alex tries to stab them both. The parents fight Alex and eventually she is shot by Beth, killing her love rival. So equilibrium is restored.
Act 1 It is in the first 10 minutes of a film when an audience decides whether or not they like it. Therefore it should contain a reason , a or question they will want answered only to be shown later in the film , or a hook. His theory then states for the next 20 of the first 30 minutes to the film the audience is shown the nature of the problem faced
Point 1 Importants points and disruptions which alter the dynamic of the film. Plot point occur 3 times in between acts and once in the middle.
Act 2 More and more problematic situations arise in which he main characters helplessly fight their enemies.Next the situation seems to improve, but the story is still a long way off from a resolution.
Plot point 2 - THe protagonist relises teir approach to tackling the problem is flawed which leads to Act 3
Act 3 The hero is in control and battles the villain on their own territory or with their own plan etc.
Levi Strauss's Theory : The below are binary opposites exhibited in Fatal Attraction
Day v Night
Love v Lust
Truth v Lies
Marriage v Affair
Fear v Happieness
Good v Evil
Normality v Abnormality
Calm v Turbulence
Wife v Lover
Freedom v Entrapment
Vladimir Propps Theory: Below are the characters in Disturbia who fill the 8 common roles :
The villain : Robert Turner
Who becomes close to Kales mother, to disguise his twisted intentions.
The hero : Kale Brecht
Who saves the day by uncovering the murders.
The donor : Kale's Mother
Conviscates his gadgets which make him bored, so he is made to notice more about his surroundings.
The Helper : Ronnie
Conducts all the searches Kale asks eg searching the garage.
The princess : Ashely Carlson
Kale likes her , and wants to impress her, he does eventually when we find out he was right.
The dispatcher : Kale's Father
The fathers death means Kale is under house arrest, and eventaully leads to Kale looking out the window, and notcing things.
Also Ashely. Who initiates the stake out, and encourages Kale to continue watching.
The false hero: Officer Gutierrez He is told about the murders and Kales theory, but ignores it. Also when he does go into Robert turners house , he does not save the day but is killed.
Barthes Action and Enigma Codes in Disturbia
Action:
We see something and want to know what happens- we sort of know but have to check Car Crash Kale Punching The Teacher Kale Under House Arrest When Kale and Ronney are caught by Ashley spying on her Voyeurism Woman In Turners House screaming Turner seeing Kale spying Turner warns Ashley in Car Turner Kidnapping Kales Mother Ronney Searches Garage and car
Enigma
We are shown something but we wonder why Why is the house joined up Why does Robert Turner buy a shovel Why is Ronnie in the closet Why are there blood smears on Turners house The bunny Dents and scratches on Turners car Other murders on the news
Todorovs Narrative Structure in Midnight Express
In Midnight Express the state of equilibrium is when Billy Hayes and his girlfriend Susan , are tourists visiting Turkey, about to fly home. They have had a good holiday, and pass through airport security about to board the plane home.
The disruption to this equilibrium is caused by the event when Billy is arrested after turkish police search all passsengers on the plane they are about to board due to a terrorist threat. Billy is found to be smuggling drugs (hashish) out of the country and is arrested and given a court date.
The recognition that the disorder has occured, comes when Billy is sentenced to just over 3 years in prison, in Turkey for his crime.
An attempt to repair the damage of the disruption comes when Billy attempts to break out, his attempt is unsuccessful due to the informents within the prison who work for the guards and tell of his plan to escape. Consequently his sentence is then reviewed and extended to 40 years. Billy then becomes mentally ill and is submitted to the prisons mental asylum.
A return or restoration of a new equilibrium arrives when Billy attempts to bribe the prison officer, to let him go. This fails but in a series of actions Billy kills the officer, and takes his uniform , then manages to walk straight out of the prison and returns home to America 3 weeks later. The equilibrium is not the smae however, as he no longer has his girlfriend, and his mother has died, plus he is also now a completely different person.
Levi-Strauss said that every element of a story was paired with another within the same story as adirect opposite.
Some common examples are: fear v happiness male v female humanity v technology nature v industrialisation East v West
Within genres there are also stereotypical binary opposites.
Roland Barthes action/enigma codes:
Barthes decided that every film is made up of a narrative code that consists of action and enigma codes which are used to create suspense.
Enigma codes are the parts of the plot that leaves the viewer questioning the events.
Action codes refer to actions which cause other actions.
Tzvetan Todorov’s narrative structure:
His theory states that every film has three stages:
The film starts in a state of equilibrium The equilibrium is disrupted A new equilibrium is created by the end of the film There are then five stages the narrative goes through: Equilibrium where everything is normal Disruption of equilibrium Recognition of the disruption and its consequences An attempt to repair the disruption The restoration of a new equilibrium This theory creates a circular structure to the film, not a linear one. However the equilibrium reached at the resolution of the film is different it has been altered by the events that occured in the film, eg a bomb destroying something, or a characters death.
Vladimir Propp's Character Types:
Propp identifies the main character types: The villain The hero - usually motivated by the lack of something (love, money etc.) and not always conventional The donor The helper The princess "Her father" character The dispatcher The false hero
I have chosen to analyse this film opening sequence because of the sylised way it is shot, as well as the time in the narrative the film opens, as well as how the credits are incorporated to the scene and narrative. It also has a vast variety which can help inspire me.
The film starts with one credit that fades on to the screen. it has a grungy , grimy background. Which suggest to the audience from the start that the film is going to be set in an industrilaised or urban area. The white text over the dark background links to the theme of innocence and children that face dark problems at home. In this case the character of Oleg, who has a violent father, who beats him and his mother. The splatters on the background also suggest impeeding violence or blood, from an innocent victim.
The screen then fades to black, and the writng Media 8 presents, warps and fades with it. Perhaps this warp is meant to signify that the opening to the film is warped in time, and is not from the beggining.
The scene then fades in, and Paul Walkers character Joey Gazzelle is pushing open a door with his shoulder, as he carries out an injured child, with blood on him ( Oleg ) . The camera here tracks forward and pans around Joey's face highlighting his fixed gaze to the distance. It is a smooth shot, and shot with steadycam.
The shot then dissolves ( to show that time has passed) and we see a long shot of Joey placing Oleg into his car. The camera then again tracks forward and pans around Joey as he rushes to get to the drivers side.
Another title then fades in. This time the background to it is a tyre tred, but it is green. THe green i think is to signify to the audience that it is a gangster film, so money is involved, and US money is green. The title itself says, "A Media 8 / Tru Grit Production" . The Tru Grit part linking to the tyre, and the tyre signifying speed may be impending as well.
The title fades out, and there is red on screen. This shot is infact an extreme close up on the red light from a set of traffic lights. But is there to signify the danger, and bloody violence the fim is about.
The next camera movement i think is extremely stylized, but really like. Suddenly we zoom out and and track a little bit from the red, and it is revealed we were seeing traffic lights, the camera then sharply drops down ( like a crane shot) and the car Joey and Oleg are in zooms right into centre shot from behind, and the camera then tracks behind them as if it is fixed to the boot.
There are then close ups, to show the emotion on teir faces, as well as showing signifiers of the genre, such as the magnum gum. It is also cut with quick cuts and fades to white, which i think is meant to show te danger, confusion or pain of Joey , as he may be almost passing out.
The remaining creadits then come in. These credits are different to other gangster thrillers, such as Layer Cake, as they are purely animation, and ar not superimposed over footage. The credits are animated in a style similar to cartoon drawings in a childs comin book, or fairy tale. The animation going on is infact parts to the story that have created the scene in the car. There are characters shown and events that take place in the narrative of the film, and i really like how the credits are done in this film, as it makes it more individual to other films in the genre and is less generic.
This Opening Sequence also impacts on the audience because it starts with immediate action, and someting that has gone wrong. I personally like films when they commence with some form of action, if it is used effectively. For example in Running Scared we have a boy who has blood on his clothes, and a man who looks in real pain. When i first watched this i was immediately gripped, because it made me question why they were in this situation, and what had caused it. Answers i had to watch the rest of the film to recieve. What is also good about the place in the narrative it starts is when you finally come to the resolution of the film, we pick up from this scene again and all is resolved in the following sequences. Which takes the film in a full corcle and makes for good viewing, and at the end a sense of accomplishment for the viewer as they realise what the significance to the opening sequence was.
The first part or shot of this scene is also slowed down, this is uncommon as it is normally used to show a resolution, and not normally at the start of a film. However i think it is effective here, as it shows the distress of the characters and the emotions they are going through. It also creates a sense of urgency and has a positive dramatic effect.
I also like the music as it is not distracting or overpowering of the scene.
This opening sequence has helped me develop some rough ideas. I am thinking of starting my film somewhere in the middle of the narrative, and using some form of action, or death to shock the audience, as it will be unexpected and thus hopefully increase teir interest in the film with unanswered questions.
For the credits i am going to use, i would also really like to have them similar in style to the ones in Running Scared, especially if i am going to use a grugny or grimy urban setting, with a gangster theme.
Analysing connections in Psycho and Why Hitchcock’s Psycho and the Shower Scene are such a Thriller Icon ?
Firstly Psycho is the most written about and analyzed film of all time. Hitchcock used the film to tap into the American psyche exploring themes and obsessions of loneliness, loss of identity, sexual ambiguity, passivity, voyeurism, the triumph of evil, and the oppressive weight of a dead past. In all of Hitchcock’s films randomness and the occurrence of random events play a large role in the developments of the narrative. Hitchcock, uses randomness from the start in Psycho to portray his belief that the world is indifferent to our suffering.
The random movement of the camera at the beginning of Psycho where it passes past the window where Marian Crane and Sam Loomis are having their affair is consistent through to later in the film by the random movement of Norman Bates hand as he reaches for Marion’s room key. As he has chosen the key for cabin one, Norman dooms Marion to death, because he will spy on her, therefore becoming aroused, consequently leading to his guilt or the mother side of his personality killing her. Hitchcock uses these two random movements in connection, as if the camera had not passed that window, then we would not have endured the suffering that occurs from watching psycho. Techniques such as this help build up the narrative of the film, and are touches which make Psycho so effective.
The manner in which we are made to empathise with the protagonist in the story ( Marion ) also contributes to why Psycho is so highly redeemed. We are first placed on Marion’s side in the scene when she gets back to her office. She is sat at her desk when the staggering bully Cassidy sits on he desk and is waving his $40 000 . This character is shown as immensely unlikeable. The angle the camera takes here right behind Marion , shows us how unpleasant it is to have a person stare right at you, and be able to do nothing about it. Especially this arrogant and rude bully ( Cassidy). The technique that Hitchcock employs here is to make Marion’s decision to steal the $40 000 seem as little her choice as possible to disguise the fact she herself is a villain in the story, and increase the empathy of the audience towards her.
Audience understanding to Marion’s emotions is cleverly increased by Hitchcock. In the first driving sequence Marion’s inner confusion and discomfort are made manifest in her reactions to the harsh lights of cars. The increasing stress Marion is feeling Hitchcock then mimics in the camera moves closer and closer to her darkened, back lit face, as well as the rain ( holding symbolic values of tension also) and slashing wiper blades ( a deliberate hint at the later slashing of Marion with a knife ). This use of shots along with developing reactions acted by Marion heighten audience understanding.
Overall I think Psycho is so highly revered, is because it twist audience expectations, which makes it more suspenseful and captivating. The film is so effective as a thriller due to the protagonist who we are very early on cleverly endeared to is killed half way through the film, which is shocking for the audience and challenges their expectations.
So Why is The Shower Scene so effective and a thriller icon ?
Firstly the shots types themselves make the scene so effective. The sequence starts with a frame within a frame from the POV of Norman Bates , as he spies on Marion undressing. This shot makes the audience feel uncomfortable with what they are watching, unnerved and makes the shot voyeuristic.
The actual killing itself is shot from 71-78 different angles , and includes 50 different cuts. Most of the shots are extreme close ups , except for medium shots of the shower directly before and after the killing. The camera also doesn't remain on Marion's dead body, instead cutting to the blood swirling down the plughole and the curtains ripping. This leaves the killing to the audiences imagination. The combination of the close shots with the short duration between cuts makes the sequence appear longer, and add to the subjective, they also make the event seem more controlled, and more violent than the images themselves if they were from a wide angle. The use of music, screeching violins, ( Hitchcock originally wanted the scene to be silent accompanied with no music) vastly intensifies the scene and adds to the terror. The purpose of the shower scene is shock the audience with not only the event of the murder itself but also the brutality of Mary’s murder. He dramatically switches the pace of the scene from the slow entrance of the dark figure to the quick cuts of the murder It’s as though Hitchcock’s exaggerated use of cutting was an intentional reference to the cutting of poor Mary.
What i really like about Physcho is the clever techniques that Hitchcock uses to tie completely different events togethor to overall add to the narrative of the film. In particualr the shower scene. From watching and analysing this , i am thinking of possibly using a similar technique to this in my Thriller. I would maybe like to use a lot of different shot angles with some quick cuts, and clear shocking and defining music to accompany it in someway. Although this would be very time consuming, and a possible problem for continuity, but i would like to take some inspiration from the way this scene is shot and cut into my own thriller none the less.
Both of the films are from the heroes point of view. In both films the character is believed by friends but not by the police. Both use technology coherent with the time periods. Both films are not very enigmatic as we know all the protagonist does, which is a lot. There are dead animals in both, a dear in Disturbia and Dog in Rear Window. In both films there is also a case of mistaken identity. A party is also in each , which detracts form the killer.
Differences:
Disturbia has multiple murders where as in Rear Window there is only one. Rear window is an urban based film, and is mainly in one setting. Disturbia is suburban and there is use of more than one setting, e.g. the inside of the killers house. There is more action and a faster moving plot in Disturbia compared to Rear Window.
Themes
Similarities:
Both films are based on entrapment, i.e. being housebound. There are also themes of suspense, murder, fear, suspicion, claustrophobia, voyeurism, technology, right and wrong, good and evil, sexual attractions and justice, and police.
Differences:
In Rear Window the reason for being housebound is a broken leg, but in Disturbia it is house arrest. In Disturbia the characters believe and are trusting of the protagonists beliefs from the start, but in Rear Window he has to persuade and provide evidence for them. There is also parental relationships shown in Disturbia with the death of his father and a single widow mother etc.
Iconography
Similarities:
In both films, artificial lightin is used, e.g street lamps, house lights etc. There are also a lot of frame within frame shots, for example through binoculars. The settings are also normal places, and therefore tap into societies fears of what happens behind closed doors. Knives are also in both films as murder weapons.
Differences:
Different dress codes in each film are clear, due to different time periods. The set is larger for Disturbia and uses the villains house, and multi rooms within a house, Rear Window is based in one room of a flat. Rear Window is urban, Disturbia is Suburban. The main character in Disturbia is a slacker, who is to blame for his housebound ness, whereas in Rear Window the lead has a job and is unfortunate to be in the situation.
Characters
Similarities:
In both Films there are the same number of main characters, the housebound, sidekick and female character, who is also in both films is seen as a sex symbol. All the main characters become very involved in the plot in both films. Also the victim in ech film is a female. In both, the villain is also played by a man, who also appears to be of similar age in each film. The main protagonist is untidy in appearance, and appears not to be bothered with it. The female is contrastingly well dressed, in fashionable expensive clothing, and also differs to the common damsel in distress character, but is brave ( in both films). The films are also set within the period they were filmed, thus to play on the current fears of society.
Differences:
The films are however set in different time periods. The ages of the characters is also different, in Disturbia they are teenagers and in Rear Window they appear to be in their thirties or even 40s. The plot is also different as in Disturbia the female character initiates the watching of the neighbour, whereas in Rear Window she tries to detract form it. The gathering of evidence and exploration of the villains house is also done differently. In Disturbia it is the male sidekick who goes in under the main protagonists say so, where as in Rear Window it is the female character who does so of her own accord. The sidekick in Rear Window is a female nurse, whereas in Disturbia it is a male friend. There is one vicitim in Rear Window, but more in Disturbia.
After closesly looking at the story similarites and differences within Rear Window and Disturbia, i think i would prefer to use an urban setting for my thriller, especially as i am thinking along the lines of a gangster thriller possibly. Although i like disturbia and believe it is a very effective and well made film, the associations of a mobster are going to be most easily shown in an urban setting, especially as i only have 2 minutes of screen time. Things i would like to take from both films however and use as guidance for my own triller, are the limited number of cast/characters . Which will make scenes easier to shoot, and allow me to explore the characters in more depth within the 2 minutes of screen time than would be possible with a large casting. I also think the concentration of telling the story from only one characters point of view , following the main protagonist as the opening sequene to my film would be effective.
This particular DVD cover is more enigmatic than others from different films - e.g. Disturbia. There is no tag line for example, so immediately we are led to focus on the large and bold close up image of Jack even further. The big blose up image of Jack does however convey a lot to what the narrative of the film may be. Firstly , the fact that it is only this charcter on the dvd cover, who is shown by a big close up , connotes that he is a significantly important character in the film, and that the narrative events may be based around him. The overall expression on the close up, being very unordinary, signifies the extraordinary events that will be contained in the film, such as the duality- shown by the twin girls, or the halls which are flooded with blood. The redish tint to which the image has, connotes the ideas of blood, and danger. As the light is focused on him , the narrative is built up further with the idea that he may be the cause of such traumas. The expression in the close up, also builds up the narrative of the DVD cover. The whites of the eyes that are shown connote danger, and the idea of fear or rage. The character is also unshaven which tells us , he is not bothered with his apperance, so may be somewhere isolated with limited contact with other people. It connotes he is wild, or posessed. The strand of hair that is on his forehead, connotes again he is wild, or posessed, and also the idea something has gone 'loose in his mind' fortifying the idea that he has become mad. The teeth help construct narrative and the awkward smile shows that there is enjoyment in what he is doing, although it is wrong (hence the awkwardness of the smile). The characters head appears to be stuck between a door, and therefore we are left thinking, who is he looking at? All of these elements add to the idea we gain from the DVD cover as to what the film is about, without giving away the entire plot, in this sense we are left with questions we want answered, and the way to do this is by watching the film.
The text and colours also construct the narrative. The idea it is part of the "Stanley Kubrick Collection" which is now "Digitally restored and remastered" adds to the films identitiy, that this is a classic thriller film. "Stanley Kubrick's" name is presented in a large type face, and in red. Therefore building up the idenitiy of the film, and the red connotes blood and violence so also thriller. As it is the director whos name is in red, it shows that he isa a master of the thriller genre. "The Shining" is in bold black, but the title itself is enigmatic, and leaves questions as to what is Shining, is it supernatural etc??
I chose this new layout because i think it looks thriller . The red coulours connote blood and danger, whereas the dark dim lighting and half hidden man connote mystery and the unknown(enigma). I also thought the tattoo on the back of the mans head made him appear meancing or perhaps mentally unstable. I also thought the large gun, is like a large slasher knife you would get in thrillers.
But more so , the character looks like a possible Hitman ot Gangster, an idea reinforced by his sharp crisp suit, and also the gun. I am particularly interested in gangster thrillers as a sub genre, and am thinking of making mine a gangster thriller , so the background is here to also help inspire some ideas!
The below is his Road To Succes (wikipedia)
