CONCEPT IDEA #4: Horror/thriller

  I put together a presentation for my pitch to present to Mike and my peers.

CONCEPT IDEA #3: Drama

 I put together a presentation for my pitch to present to Mike and my peers.

CONCEPT IDEA #2: Thriller

  I put together a presentation for my pitch to present to Mike and my peers.

CONCEPT IDEA #1: Drama/Romance

  I put together a presentation for my pitch to present to Mike and my peers.

RESEARCH INTO ROLES OF PRODUCTION

 Research into Roles of Production.

DIRECTOR

Throughout the whole film making process, directors are responsible for leading the creative aspect of production to editing, as well as instructing the crew on set. An example of a director would be Tim Burton, best known for his gothic works such as The Nightmare Before Christmas, Corpse Bride, Alice in Wonderland, Charlie and the Chocolate Factory and many more. 

As a well recognised individual in his field, he has been involved in many interviews, giving advice on how to succeed.  An article in which he talks about this (https://filmschoolrejects.com/6-filmmaking-tips-from-tim-burton-af861cbc51c0/) states the following: 

1) Do it because it's your passion.

2) Relate to everything you do. 

3) Don't let anyone tell you how something should be done.

4) Have a childlike perspective and sense of wonder.

5) Work with people you like, but prioritise the best person for the job.

6) Don't have any expectations.

He also talked in a Masterclass:

CAMERA OPERATOR 

Camera operators, on the other hand, are responsible for operating the camera equipment on set, capturing the scenes. For example, Tobe Hooper (1943-2017) was best known for working on the Texas Chainsaw Massacre films.

He too has given pieces of advice in regard to filmmaking, such as:

1) Trust your instincts on set.

2) Un-boring the horror genre.

3) Change direction

4) Embellish your source material.

5) Collaboration is not a dirty word.

6) Use the history of the moment as a source of inspiration.

Sourced from: https://filmschoolrejects.com/6-filmmaking-tips-from-tobe-hooper-cf87fb28fc28/

EDITOR

In the filmmaking process, editors take on the role of editing the material of the film, including the sound, special effects and footage.

A well known editor in this field would be Michael Kahn; he can be recognised for his work in The Colour Purple, The Terminal, and The Adventures of TinTin.

Some pieces of advice that he has mentioned include:

- To learn about editing, see as many movies as you can, good and bad.

- Always duplicate/overlap 2-3 frames on. match cuts because of eye sensory lag.

- Keep fresh by walking away from your edit. You'll come back the next day and see a different scene.

(https://jonnyelwyn.co.uk/film-and-video-editing/spielbergs-editor-michael-kahn-on-editing/)

ART DIRECTOR/DIRECTOR OF PHOTOGRAPHY

Art directors manage the visuals of the animation of a film. They aim to capture the director's vision for the piece by examining the script and working with them.

A good example of a person in this field would be Rick Carter; he can be recognised for his work in Forrest Gump, Back to the Future part 2 & 3, Avatar and Jurassic Park.

His work in Forrest Gump won him an Oscar nomination (shown on the right).

PRODUCER

In a project, the producer launches and finds it - they hire the people needed, including key members of the creative team, arrange financing, and oversee all aspects of production (including pre, post and release).

Nina Jacobson is well recognised in this field, known for her work in The Huger Games, Crazy Rich Asians, The Goldfinch and Diary of a Wimpy Kid.

COMPARING TITLE SEQUENCES

 C O M P A R I N G   T I T L E   S E Q U E N C E S

Grease and American Horror Story's opening captures the essence of both narratives well. 

GREASE

The genre of the film is established almost immediately through the use of the quirky, brightly coloured 1950s style font for the film title as well as through the use of the non diegetic soundtrack of 'Grease' by Frankie Vallie. It indicates at the fact that this is a film with a more positive tone, and perhaps even depicts that Grease is of the musical genre due to the correlation between the lyrics of the song and that of the narrative. 

This idea is continued throughout as this is repeated with other credits. For example, this can be seen in: 

'Dances & musical sequences staged & choreographed by Patricia Birch'

'T-Birds alphabetically Barry Pearl (Doody), Michael Tucci (Sonny), Kelly Ward (Putzie)'

'Music supervision Bill Oakes'

The title sequence heavily features typical American figures from the 1950s, such as Elvis Presley and Marilyn Monroe, presenting the location and time period.

The narrative is also hinted at subtly throughout the film. The most predominant way in which this is done is through the introduction of the characters; they are introduced through mirrors, hinting at the idea that perhaps they are teenagers as they seem to be more vain. Additionally, they are introduced through the word 'as', suggesting once again that this is a musical as this adds a theatrical element to the film. The way in which they approach the mirrors also presents their personalities:

Danny can be deemed as an unkempt, popular rebel. This is because his room is illustrated as rather messy through the use of clothes and various items being scattered around his room with an unmade bed, and his hair is tousled; this signifies his rebellion and untidiness. He also looks into the mirror with caricature-like exaggerated features, such as his smirk and sharp jawline. 

Sandy on the other hand can be deemed as Danny's love interest as she is introduced immediately after him. She heavily contrasts him as her room is tidy, and there is an element of fairy-tale like undertones to her being as she is surrounded by animals and her beauty is effortless. Due to this, it can be assumed that the film's narrative will follow the romantic relationship of the two, and their interesting dynamic.

AMERICAN HORROR STORY: MURDER HOUSE

The narrative, genre and tone are established immediately within the opening shot. A POV shot is shown, interrupted by quickly paced depictions of disturbing children/babies accompanied by a piercing sound that is cruel to the senses. A eerie non-diegetic soundtrack of string instruments in pizzicato also plays. This crafts the sense of 'creeping around' - exploring things that aren't meant to be explored. The angle also depicts that investigation is taking place within the narrative due to the torch lighting. It is made clear that the opening is representing the horror genre with mysterious and unsettling tones. 

The font of the credits also capture the tone as it is rather gothic in the colouring of black and white. Some of the credits include:

Dylan McDermott

Connie Britton

Jessica Lange

Not many characters are introduced, however, many symbolic shots are shown. This encourages the audience to immerse themselves into the plot, and feel as if they too are uncovering the secrets of this location (presumably the basement of a house as that is what is shown).

Though the information given to the audience is contemporary and limited, this adds to the element of suspense. However, it can be concluded that the piece is set in America due to the title, 'American Horror Story'.

In conclusion, I believe both are successful opening title sequences, however, the American Horror Story sequence captures the genre more and is emotionally captivating, however, the Grease opening summarises the narrative more. As a personal taste, I prefer the American Horror Story opening as it is thought provoking and is rather open ended, encouraging me to want to view more of it. 

TITLES

- T I T L E S - 

Titles are forms of text shown either at the beginning or the end of the film, crediting that of the people or groups involved in the process of the creation of the piece. In order, these include:

--> Money 

--> Production 

--> Directors name film 

--> Main star 

--> Film title 

--> Actor 1 – (end of main section) 

--> Actor 2 

--> Actor 3 

--> Actor 4 

--> Actor 5 

--> Casting 

--> Costume designer 

--> Music 

--> Edited 

--> Production designer 

--> Director of Photography (DOP) 

--> Executive Producer 

--> Produced by 

--> Based upon 

--> Screen play (writer) 

--> Director  

Titles also enable the audience to have a greater understanding of that of the tone, location, time and genre of the narrative, as well as serve as a hint as to what will happen in the film.

An example of this would be in the Netflix series, Narcos; the font of the credits are rather neat and minimalistic, juxtaposing that of the more sombre scenes being presented crafting an unsettling atmosphere. This prepares the audience for the more mature tone of the narrative.

Another example of this in film, rather, would be in Skyfall's highly stylised opening; it captures the essence of the James Bond franchise, which is action, sex and masculinity through the graphics and soundtrack. 

RESEARCH INTO A WESTERN OPENING TITLE: Tombstone

 Western Opening Scene Analysis.

Tombstone, starring Kurt Russell, Val Kilmer and Sam Elliott was directed by George P. Cosmatos and Kevin Jarre and released in 1993 by Buena Vista Pictures. 

The film starts with an extreme long shot of men riding on horses in a setting of the desert following a non-diegetic voice over saying, "They call themselves the cowboys." This immediately establishes to the audience that this is a film of western genre, and also introduces the group of people and their status. This is accompanied by a non-diegetic soundtrack of intense, orchestral music signifying that perhaps something is about to go wrong, thus introducing the highly dramatic tone of the film, acting as a convention of the western genre.

An establishing shot is then used, transitioned through a cut, and the soundtrack stops and instead is replaced by diegetic sound effects of people chatting and laughing. This emphasises the extent to which these cowboys are about to interrupt this location, and perhaps even signifies that they should be perceived as villains as they are disrupting peace and serenity.

A band are also shown playing rather upbeat music contrapuntally, once again underlining that these cowboys should be perceived as villainous and are disrupting the peace of this town. The men are shown in a close up to emphasise this.

A close up of a man walking towards the town with the sound effect of his cowboy boots jingling perhaps serves as an indication as to who the main character or villain is due to this sudden isolation and juxtaposition. This also acts as a convention of the western genre as it is rather over dramatic and there is a clear distinction between 'the good and the bad'. Additionally, as he loads his gun, locals are shown to depict how intimidating he is as a figure. His face is not shown yet and this adds a sense of mystery to encourage the audience to continue watching.

A newly wedded couple are then shown walking out of a building as they are dressed in a costume of a wedding dress and suit, and hold happy expressions. This depicts their ignorance of the situation, encouraging the audience to feel sympathy for them as they are unaware of what is to come with the individual with his gun.

There is then an element of a face off between the cowboys and the man who has just married, and the reason as to why this is is established when the individual delivers the dialogue, "Ya'll killed two cowboys."

Both individuals have a pack of men behind them, signifying that they are the leaders of these 'gangs'. The face off and gang depiction serve as a convention of the western genre.

This then quickly escalates into a shoot off as the two gangs fight, the narrative serving as a hint to the action related undertones to the piece and encouraging the audience to continue watching to see who emerges victorious. Eventually, however, the invading gang win, presenting them as a more powerful group of people and the focus of the narrative. From this, it can be assumed that the rest of the film will follow them and their adventures, or perhaps explore the theme of revenge.

I think this is a highly successful opening as it captures the key conventions of the western genre, thus preparing the audience for the tone and theme of the film and determining whether or not they will like it. Due to the violence, it can be assumed that this film is targeted for a more mature audience and those who particularly enjoy the western genre. 

THE TRAILER

RESEARCH INTO A WAR OPENING TITLE: Saving Private Ryan

 War Opening Scene Analysis.

Saving Private Ryan, starring Tom Hanks, Matt Damon and Tom Sizemore was directed by Steven Spielberg and released in 1998 by Dreamworks Pictures. 

The scene opens with a shot of the American flag with a hint of a black and white filter, accompanied by a non-diegetic sound track consisting of a trumpet. Automatically, the tone created here is rather patriotic, but simultaneously there is a sense of loss due to the sombre colour scheme. 

 The audience are then introduced to a man through a tracking shot, indicating that he is the main character or protagonist due to his isolation and the emphasis placed upon him.

Behind him follow a group of people, only one of which roughly being of the same age - due to this, we can assume this is his family and that the elderly woman is his wife. This can be presumed due to the fact that they are all walking closely together, and even the two women have their heads pressed against one another's.

Eventually, one they reach their destination, the man stops and holds quite a speechless look on his face, whilst the rest of his family watch him. This indicates that he has seen something that has quite a lot of meaning to him, and the family are aware of this as well, thus implying that whatever it is is quite a big affair for him.

Then, two flags are shown: the American and the French. This could possibly mean that this is a memorial site for the Invasion of Normandy in World War II due to his age, and the patriotic tone to the piece so far.

It is confirmed that this is a memorial site due to the large number of graves, and the man standing amongst them as he too is an elder and is wearing a costume of war medals. These aspects of mise-en-scene as a convention of the war genre.

The man then comes to kneel in front of one of the graves and looks at the floor solemnly whilst his family put their hands on his shoulder. This indicates that he lost those he cares about, and that the war was a traumatic event for him - he can be now assumed as a veteran.

The camera then zooms in whilst he is placed in the centre of the frame within the camera composition, and eventually meets his eyes. This shows a hint of psychological intimacy to the audience, and signifies that we are about to enter his thoughts. This encourages the audience to continue watching so they can discover why he feels so strongly about the situation.

From this, it can be assumed that the narrative will be that of his experience in the war, establishing to the audience that this is a war genre film. It can also be assumed that the target audience for the piece is that of a more mature audience and those who enjoy this particular genre.

Apart from the narrative itself of revisiting traumatic memories, no particular conventions of the war genre are used; because of this, I believe that this opening is highly successful as they aren't needed. There is an element of emotions and drama that capture the essence of the war genre well, and prepare the audience for what is to come. These elements also signify to the audience how traumatic war really is, serving as a socio-political message.

THE TRAILER

RESEARCH INTO A HORROR OPENING TITLE: Hostel

 Horror Opening Scene Analysis.

Hostel, starring Jay Hernandez, Derek Richardson, and Eythor Gudjonsson was directed by Eli Roth and released in 2005 by Lions Gate Films.

The film opens with a few pleonastic diegetic sound effects which consist of: whistling, scrubbing, and water dripping. The isolated use of these causes the audience to feel highly uncomfortable as there is an eerie sense to them which acts as a convention of horror - it can also be considered that the serene whistling is contrapuntal as the sombre colour palette of the scene suggests that something is wrong, making the audience feel on edge which acts as a convention of horror. Additionally, a deeply focused close up is used on a rusty tap/pipe with a man scrubbing in the background, suggesting that this individual is doing something that he frequently gets away with. The rust indicates that this setting is in poor conditions, and creates a rather dingy atmosphere which again makes the audience highly uncomfortable. Immediately, the audience are captivated as the lack of information given makes them question as to what the twisted narrative is.

Another close up is then shown on a set of tiles with filthy suds pouring down them. Once again, this creates a dingy atmosphere but also hints at the narrative; this man appears to be cleaning up after something - what that is remains unknown, thus thoroughly engaging the audience due to the element of mystery which serves as a convention of horror.

More is revealed in regard to the narrative later on as a pair of bloody pliers are washed in a glass of blood infused water; this tells the audience that it is likely that the man whistling could be torturing people as pliers are a common torture device. It also indicates that he is a psychologically twisted individual who does this on a regular basis as he is whistling a happy tune. This aspect of the narrative serves as a convention of horror as it is extremely gory and disturbing. 

Then, a drain is shown with fresh blood washing down it accompanied by drain sound effects, implying a sense of a recent victim - again, this is deeply disturbing as it foreshadows the narrative and is extremely gory.

The last shot is of an extremely rusty chair in a dingy room, most likely the place in which this individual tortures his victims. A black out transition is used to exit the scene accompanied by a door clanging shut sound effect. This portrays once again that what this man does is kept behind closed doors, and that he gets away with it. It is an extremely powerful shot to finish the opening on as it has the sense of a cliff hanger, and makes the audience already worry for the characters in the plot which acts as a convention of horror.

Overall, I think this is a moderately successful opening; however, though the lack of characters creates a higher sense of mystery, I believe it may present itself as a bit ambiguous instead - perhaps more intense depictions of the individual's physical features could have created more of a narrative. However, it is clear that the film will follow the victims or the torturer in this location in a general sense, and will be done so in a gory way. The use of these more grim and macabre shots definitely targets a more mature and horror enthused audience, as they clearly establish the tone of Hostel.
 

THE TRAILER

RESEARCH INTO A THRILLER OPENING TITLE: A Clockwork Orange

 Thriller Opening Scene Analysis.

A Clockwork Orange, starring Malcolm McDowell, Patrick Magee and Michael Bates was directed by Stanley Kubrick and released in 1971 by Warner Bros. Pictures.

The film opens with credits for the studio and director, using both red and blue as background colours. Perhaps this could indicate to the criminalistic undertones to the film as they are the tones for a police siren. It can also be assumed that the colour shift foreshadows the tones for the film; violence (red), and stability (blue). The choice made here captivates the audience and encourages them to continue watching as the distinct hues are fairly unique, and makes them question as to why these decisions have been made for the piece. Additionally, an intense, sombre non-diegetic soundtrack plays over this, again indicating the film's darker themes.

This then transitions through a cut to a close up of a man who can be assumed as the main character due to the sudden change in scene. He is looking directly into the camera lens, breaking the fourth wall - this combined with the angle used suggests that perhaps the audience will get to know him on a more intimate and psychological level. His makeup of a ring around his eye also depicts the contemporary undertones of the film, as well as perhaps any psychological issues the man has as his choice cannot be considered as 'normal'. He holds a sinister look on his face with his head tilted down and a smirk on his lips, again indicating that he may have psychological issues and that he is a morally tainted man. Furthermore, the use of the black setting behind him can be considered as representing the dark tones of the narrative.

The camera then zooms out slowly, and eventually reveals two men sitting next to him; they both wear the same costume as him, implying that they are friends and are perhaps even in a gang or organisation of some sort. The two other men are not looking into the camera lens, further emphasising that the man in the middle is the main character and that the narrative will follow him. They come off as rather passive as they have dazed expressions, perhaps indicating that the main character is the leader of this 'gang'. Interestingly, they are all holding glasses of milk; this juxtaposes the mood of the men heavily, and could be considered as a metaphor as it is a rather unusual drink for older men.

Eventually, the camera presents the location in which the characters are in, and it holds a rather abstract atmosphere. Statue props of naked wax women in promiscuous positions are in various places. This portrays that the film is more mature, and is intended for older audiences. It also portrays that this film is set in a contemporary location as it is highly non naturalistic, which acts as a convention of thriller as it is unsettling and thought provoking.

It can be assumed that perhaps the film's narrative will follow that of the main character through his journey with his gang in a contemporary world; it is difficult to piece together the narrative from this short yet intense and highly stylised opening, but, it does grip the audience through the discomfort crafted due to how disturbing it is, which acts as a convention of a thriller. I personally believe that this opening is highly successful in capturing the essence of the genre and tone of the narrative because of this. It also clearly establishes its sociopolitical and contemporary themes to the audience.

THE TRAILER