I think we have used many of these concepts within the opening of the film using Gary Braver's pointers:
1. You need to have a good story.
We drafted the storyboard and also have improvised during filming to make it as effective as possible to capture the audience
2. Write about the underdog.
We have emphasised on the "unlucky" characters, these are both the characters in the basement scene. The Gangster character is in a undesirable state, and Aslihan is the mournful character.
3. Multiple points of view give great range in a thriller.
We have the point of view of Aslihan, she is seen as making the right decision in taking revenge. We have the point of view of the audience, her actions seem wrong but it is justifiable according to Aslihan. We also have the point of view of the "stalker" character who is Vedat, it is not emphasised on in the opening but it is obvious he has his reasons for his actions too.
4. Have an action scene in the introduction.
We used the uncomftable situation in the opening, the disruption scene.
5. Reveal what the protagonist fears and aspirations are.
Aspirations of Aslihan is obvious at the end of the opening, revenge. Her weakness is obviously her love for her fianceé, but as he is not alive, we are not aware of any other weaknesses.
6. Make your characters miserable.
They are all miserable in their own way. We make the audience miserabe too. Ha.
7. Your main characters have to change.
Aslihan's personality contrasts in the opening, her past state and her present state.
8. Pacing must be high: Strong Narrative Thrust.
The opening sequence is tense and it straight away jumps to "8 months before"
9. Show—don't tell.
We used alot of cinematography through symbols, i.e. shadows, colours of clothing, change in style, time of day, lighting, make-up, sound of the heels, sound of the music, the uncomforting light...
10. Teach the audience something.
Teaching through representations of social groups and age as well as gender. Teaching something about the human philosophy and mind. Teaching of human morality.
We have also made use of Todorov's theory of Equilibrium, Disruption and Resolution. Combined with Gary Braver's theory and ideas from films such as Memento, we have used the disruption at the start to create tension and enigmas, this also sets the motive of the film and the characters involved.
The film Memento have used this technique. The first scene is going backwards and the main character shoots someone in the face. This works well because it allows enigmas to arise, it sets the purpose of the film: the rest of the film justifies his actions in the opening.
Tuesday, 12 May 2009
Editing
We started editing on the 23rd of April. At first me and Aya were to start the editing on the Macs, however, we decided that using Windows Media Maker was easier because we had already had experience using it during the Preliminary task. It would be time consuming to learn and get used to using the Macs.
It was very time consuming to even do half the clip as we had taken serveral shots of each shot to have the choice of which one would work well and create continuity. This was an advantage, however time consuming. We had to keep viewing the repeated shots to pick one out. This has made me beleive and appreciate the work put into the films which are much longer because it certainly would take alot of time to edit.
Aya had edited the kitchen scene herself, Serhan and Vedat were meant to edit it but after a fault in doing so she had to do it.
When we got together we viewed what had been edited, however i had realised that some shots should have been used. As a group we agreed and i edited in the parts which should have been kept in the film. This task was quite stressful because i had to watch the unedited version of the clip and decide with Vedat and Serhan which parts should have been used. I cut the films in sections deleting the unwanted parts, or the parts which already existed in the film. I then imported them to the final file and then watched it all over again to make sure there were no jump cuts, however there were still some jump cuts left which we couldn't improve.
The credit sequence was throughout the basement scene. It has a black background with a red font which seems as though it is dripping (like blood). I placed the credits between these jump cuts to make them less obvious, also we learned that the credits couldnt just be placed any where: in the shots where tension was trying to be created, placing a credit would disrupt the tension and would make it less effective.
The soundtrack starts after the footsteps coming down from the stairs. We wanted to keep the sharp "banging" of the heels because I wanted to keep that rhythmic sharp banging.
It was very time consuming to even do half the clip as we had taken serveral shots of each shot to have the choice of which one would work well and create continuity. This was an advantage, however time consuming. We had to keep viewing the repeated shots to pick one out. This has made me beleive and appreciate the work put into the films which are much longer because it certainly would take alot of time to edit.
Aya had edited the kitchen scene herself, Serhan and Vedat were meant to edit it but after a fault in doing so she had to do it.
When we got together we viewed what had been edited, however i had realised that some shots should have been used. As a group we agreed and i edited in the parts which should have been kept in the film. This task was quite stressful because i had to watch the unedited version of the clip and decide with Vedat and Serhan which parts should have been used. I cut the films in sections deleting the unwanted parts, or the parts which already existed in the film. I then imported them to the final file and then watched it all over again to make sure there were no jump cuts, however there were still some jump cuts left which we couldn't improve.
The credit sequence was throughout the basement scene. It has a black background with a red font which seems as though it is dripping (like blood). I placed the credits between these jump cuts to make them less obvious, also we learned that the credits couldnt just be placed any where: in the shots where tension was trying to be created, placing a credit would disrupt the tension and would make it less effective.
The soundtrack starts after the footsteps coming down from the stairs. We wanted to keep the sharp "banging" of the heels because I wanted to keep that rhythmic sharp banging.
Final Production Meeting
Today our group met, at Aya's house from 12 till 3. We had the task of finishing filming and fulfilled it. At the start we watched the scenes that we had previously filmed and discovered that there was an unwanted sound of the phone beeping because of the presence of the camera, and so we filmed that scene again. Through watching the previous filming that we had done, it was made sure all the props and equipment were in the same position as they were in before, if they were not it would look very inaccurate and unrealistic.
Vedat whilst he is spying on Aslihan was a good idea, as it adds to the mysterious atmosphere that according to Rubin is under the Thrillers met genre, It also allows the viewer to question, an element which according to Gary Braver should be included in every successful Thriller. We decided to go against our original storyboard and end the thriller introduction with a cliffhanger (a shot focusing on the newspaper article showing why Aslihan is after revenge). We decided this was a good idea, because it allowed the audience to question what is going to happen next and why the death of her fiancée might of taken place, as well as the reasons behind it.
Vedat whilst he is spying on Aslihan was a good idea, as it adds to the mysterious atmosphere that according to Rubin is under the Thrillers met genre, It also allows the viewer to question, an element which according to Gary Braver should be included in every successful Thriller. We decided to go against our original storyboard and end the thriller introduction with a cliffhanger (a shot focusing on the newspaper article showing why Aslihan is after revenge). We decided this was a good idea, because it allowed the audience to question what is going to happen next and why the death of her fiancée might of taken place, as well as the reasons behind it.
The Basement
Initially, the basement scene was meant to be filmed in Aya's living room; since no one in the group had a basement, we planned on achieving a basement setting by covering the windows with black card, using a low voltage light to create a dim atmosphere. Fortunately, Serhan Velettin got permission from his cousin who owns a travel agent (Jet travel) which has a basement, it was agreed that the setting was really suitable for the scene which we were shooting and we decided to use it, it really gives it a realistic atmosphere: the size of the room, the untidy look of the room (boxes, fans, unneeded materials and many more objects which is contained in a basement). The kind of props used to create this realistic atmosphere is the following:
Props/ Reasons of use :
- The room's untidy look is to emphasise that the room has unneeded things, and is a room just for pointless and unneeded things i.e. planks of wood, broken bicycles. Keeping the male character, Serhan, in there, strapped onto a small chair with brown tape shows his value towards the female character, Aslihan. The crowded room gives a claustrophobic feel, where it would be hard to move around. This emphasises on the "one-on-one" feel of the characters, and the idea that Serhan cannot escape from Aslihan .
- Using the light stand as the only source of light also emphasises on the narrow atmosphere. Facing the light onto Serhan is to cause him stress and discomfort, that he is "highlighted" and is needed to achieve the female's goal - revenge. The light also creates shadows, the film noir effect because of the low-key lighting. This allows a sinister feel lingering and floating in the atmosphere, however, it is still mysterious about who is the "good" or "evil" character...
-The costumes of the characters do not explicitly show the difference of the characters' persona, i.e. white represents good, black represents evil. Both the characters are wearing black however, Aslihan is wearing a tight black dress to show the femininity of the character, and the softness, the high heels again emphasises on these points as well. Serhan is wearing a black suit (both characters are wearing professional-like clothing) this clothing is meant to show his power over his occupation, and the conflict of this image, his powerlessness with the female before her.
- The make-up used on Serhan was meant to seem as if he had been hurt deliberately to get him to the basement. We did not use special make-up, we used a combination of daily make-up: eyeshadow, eye liner, lipstick/gloss and we got the effect we had wished to by smudging certain parts of the applied make-up.
Whether someone else hurt Serhan for Aslihan, or Aslihan had hurt him herself is not clear, but it is clear that everything has been planned and expected; that she has a plan and reasons to what she is doing.
Props/ Reasons of use :
- The room's untidy look is to emphasise that the room has unneeded things, and is a room just for pointless and unneeded things i.e. planks of wood, broken bicycles. Keeping the male character, Serhan, in there, strapped onto a small chair with brown tape shows his value towards the female character, Aslihan. The crowded room gives a claustrophobic feel, where it would be hard to move around. This emphasises on the "one-on-one" feel of the characters, and the idea that Serhan cannot escape from Aslihan .
- Using the light stand as the only source of light also emphasises on the narrow atmosphere. Facing the light onto Serhan is to cause him stress and discomfort, that he is "highlighted" and is needed to achieve the female's goal - revenge. The light also creates shadows, the film noir effect because of the low-key lighting. This allows a sinister feel lingering and floating in the atmosphere, however, it is still mysterious about who is the "good" or "evil" character...
-The costumes of the characters do not explicitly show the difference of the characters' persona, i.e. white represents good, black represents evil. Both the characters are wearing black however, Aslihan is wearing a tight black dress to show the femininity of the character, and the softness, the high heels again emphasises on these points as well. Serhan is wearing a black suit (both characters are wearing professional-like clothing) this clothing is meant to show his power over his occupation, and the conflict of this image, his powerlessness with the female before her.
- The make-up used on Serhan was meant to seem as if he had been hurt deliberately to get him to the basement. We did not use special make-up, we used a combination of daily make-up: eyeshadow, eye liner, lipstick/gloss and we got the effect we had wished to by smudging certain parts of the applied make-up.
Whether someone else hurt Serhan for Aslihan, or Aslihan had hurt him herself is not clear, but it is clear that everything has been planned and expected; that she has a plan and reasons to what she is doing.
- Other props were used by improvising on the day of the filming. Since we had not seen the props before other than the day of the shooting, we had only agreed on the setting by images that Serhan had taken from his mobile phone. We took a closer look at the props on the day and removed objects which could be obstacles when filming, such as bricks lying around on the floor. During filming we noticed that there was a small cabinet with small glass doors, there is a reflection of Aslihan's hand where she is holding a small picture; we thought the shot was good and decided to keep it in the final piece.
Monday, 11 May 2009
Shooting the first scene
On the 21st march we filmed the first scene of the opening of our film. The scene was filmed in the basement of a travel agent of a relative of serhan. When we stepped into the travel agent we observed the basement and gathered ideas on how to shoot what parts of our first scene, there were many rooms in which we could have used, one room was a box room, very small and no windows, these elements were good in order to create a claustrophobic and dark effect, however we decided to used the lower room where we could have used the stairs as a first shot then entering the darkness, it was more effective because of the messy look. This unused room would have representations of Serhan's value.
Before the filming had started, we decided to make a "behind the scenes" film of when applying the make up and when getting the camera ready and discussing what to do. A mobile phone was used to create this small movie. These movies are uploaded onto the group blog.
The first shots of the opening scene included Aslihan walking down the stairs to a private basement where serhan is taped on to a chair and is kept as hostage. Vedat was the cameraman so he wanted to experiment our ideas with the camera.
Vedat took shooting techniques used in films like memento (2000) and trainspotting (1996) as they both captured our interest. Vedat began to shoot a couple of shots of Aslihan (Me) walking down the stairs and then opening the door of the basement, i thought it would be a good idea to concentrate on the "Private" sign on the door to add to the mysterious atmosphere. Lighting wasnt used much as this would give the scene a dark atmospheric feeling which relates to film noir. We also made use of shadows and reflections, i.e. the shadows on the wall when Serhans face is on close up on the last shot before the kitchen scene, and the reflection on the peice of paper (which is meant to be a picture of the fiancee) which was reflected on the glass cabinet door. This was a spontaneous shot as we didnt realise it was in the shot until we rewatched the scene, so we decided to keep it.
We wanted to take some shoulder shots to make it realistic (a technique we had learned as a class when studying soap operas) and also some high angled shots to show that serhan has less power. After Vedat finished shooting the scene we evaluated it as a group. Overall, it was a good first attempt filming as a group as we gave each other ideas and thoughts on how to produce a better looking film. We kept taking into account the representations the different shots had, and how it would produce the desired effect.
Before the filming had started, we decided to make a "behind the scenes" film of when applying the make up and when getting the camera ready and discussing what to do. A mobile phone was used to create this small movie. These movies are uploaded onto the group blog.
The first shots of the opening scene included Aslihan walking down the stairs to a private basement where serhan is taped on to a chair and is kept as hostage. Vedat was the cameraman so he wanted to experiment our ideas with the camera.
Vedat took shooting techniques used in films like memento (2000) and trainspotting (1996) as they both captured our interest. Vedat began to shoot a couple of shots of Aslihan (Me) walking down the stairs and then opening the door of the basement, i thought it would be a good idea to concentrate on the "Private" sign on the door to add to the mysterious atmosphere. Lighting wasnt used much as this would give the scene a dark atmospheric feeling which relates to film noir. We also made use of shadows and reflections, i.e. the shadows on the wall when Serhans face is on close up on the last shot before the kitchen scene, and the reflection on the peice of paper (which is meant to be a picture of the fiancee) which was reflected on the glass cabinet door. This was a spontaneous shot as we didnt realise it was in the shot until we rewatched the scene, so we decided to keep it.
We wanted to take some shoulder shots to make it realistic (a technique we had learned as a class when studying soap operas) and also some high angled shots to show that serhan has less power. After Vedat finished shooting the scene we evaluated it as a group. Overall, it was a good first attempt filming as a group as we gave each other ideas and thoughts on how to produce a better looking film. We kept taking into account the representations the different shots had, and how it would produce the desired effect.
Shooting Script
shot - 1
timing - 10 sec
description - swinging light/credits
shot - 2
timing - 5 sec
description - serhan taped on to a chair
shot - 3/4
timing - pan moving up from foot level of aslihan
shot - 5
timing - 3 sec
description - shoulder shit of aslihan
shot - 6
timing - 4 sec
description - out of focus pov shot of serhan
shot - 7
timing - 10 sec
description - two shot of serhan and aslihan having a conversation/flashback
shot - 8
timing - 8 sec
description - aslihan putting a cup of coffee into a sink in the kitchen
shot - 9/10
timing - 7 sec
description - focus of phone ringing/focus of aslihan looking at phone
shot - 11/12
timing - 7 sec
description - pan moving up from waist level of aslihan picking up the phone/aslihan starts to talk
shot - 13/14
timing - 15 sec
description - aslihan having a conversation with aya on the phone/aslihan gets off the fone and turns of the radio
shot - 15/16
timing - 5 sec
description - pan moving from shoulder level of aslihan picking up the toys/shot of newspaper while aslihan walks through the front door
shot - 17/18
timing - 8 sec
description - aslihan opens the door to greet aya/they both walk towards the car
shot - 19
timing - 3 sec
description - aslihan goes into the car
shot - 20
timing - 3 sec
description - car engine begins
timing - 10 sec
description - swinging light/credits
shot - 2
timing - 5 sec
description - serhan taped on to a chair
shot - 3/4
timing - pan moving up from foot level of aslihan
shot - 5
timing - 3 sec
description - shoulder shit of aslihan
shot - 6
timing - 4 sec
description - out of focus pov shot of serhan
shot - 7
timing - 10 sec
description - two shot of serhan and aslihan having a conversation/flashback
shot - 8
timing - 8 sec
description - aslihan putting a cup of coffee into a sink in the kitchen
shot - 9/10
timing - 7 sec
description - focus of phone ringing/focus of aslihan looking at phone
shot - 11/12
timing - 7 sec
description - pan moving up from waist level of aslihan picking up the phone/aslihan starts to talk
shot - 13/14
timing - 15 sec
description - aslihan having a conversation with aya on the phone/aslihan gets off the fone and turns of the radio
shot - 15/16
timing - 5 sec
description - pan moving from shoulder level of aslihan picking up the toys/shot of newspaper while aslihan walks through the front door
shot - 17/18
timing - 8 sec
description - aslihan opens the door to greet aya/they both walk towards the car
shot - 19
timing - 3 sec
description - aslihan goes into the car
shot - 20
timing - 3 sec
description - car engine begins
Research on Neo-noir films
Neo-noir (from the Greek neo, new; and the French noir, black) is a style often seen in modern motion pictures and other forms that prominently utilizes elements of film noir, but with updated themes, content, style, visual elements or media. Film critics could argue that the label ‘noir’ could legitimately be applied only to a specific cycle of post-World War Two Hollywood films. Using this label can create a new approach to low budget British films which would distinguish this film from others.
Film noire featured themes that are more negative than positive, with an overall dark and shadowy outlook by being filmed in black and white.The dark lighting symbolising evil while good is symbolised through light lighting. Interesting camera angles, shadowy lighting as well as extreme close-up's are all evident in noire films. The contemporary refashioning of noir themes is a manifestation of the flexibility and responsiveness to social change that have characterised noir from its inception and of the continued vitality of the form. The transformations of the genre in neo-noir have helped to clarify some of the constant, recognisable elements of 'the noir vision', most importantly the moral ambivalence of the protagonist and his (or in neo-noir often her) ill-fated relationship with a wider society that itself is guilty of corruption and criminality. This film also features elements of crime which also would give the idea of this genre being a big part of the film.
This genre of film noir were shot in black and white, and featured stories involving femmes fatales, doomed heroes/anti-heroes, and tough yet cynical detectives. The neo-noir sub-genre refers to crime dramas and mysteries produced from the mid-1960s to the present that, while they are generally shot in color and do not always emulate the visual style of classic film noir, often borrow the themes, archetypes, and plots made famous by the film noir genre.
It would be a dark an sinister approach to the film which sets the atmosphere of what is to come.
The conventions of neo noir films fits perfectly with the narrative of the film. It has all the elements of thrillers aswell as the symbolism which is used in the opening, and would have been in the rest of the film.
Film noire featured themes that are more negative than positive, with an overall dark and shadowy outlook by being filmed in black and white.The dark lighting symbolising evil while good is symbolised through light lighting. Interesting camera angles, shadowy lighting as well as extreme close-up's are all evident in noire films. The contemporary refashioning of noir themes is a manifestation of the flexibility and responsiveness to social change that have characterised noir from its inception and of the continued vitality of the form. The transformations of the genre in neo-noir have helped to clarify some of the constant, recognisable elements of 'the noir vision', most importantly the moral ambivalence of the protagonist and his (or in neo-noir often her) ill-fated relationship with a wider society that itself is guilty of corruption and criminality. This film also features elements of crime which also would give the idea of this genre being a big part of the film.
This genre of film noir were shot in black and white, and featured stories involving femmes fatales, doomed heroes/anti-heroes, and tough yet cynical detectives. The neo-noir sub-genre refers to crime dramas and mysteries produced from the mid-1960s to the present that, while they are generally shot in color and do not always emulate the visual style of classic film noir, often borrow the themes, archetypes, and plots made famous by the film noir genre.
It would be a dark an sinister approach to the film which sets the atmosphere of what is to come.
The conventions of neo noir films fits perfectly with the narrative of the film. It has all the elements of thrillers aswell as the symbolism which is used in the opening, and would have been in the rest of the film.
Femme fatale
A femme fatale character is an attractive and seductive woman who captives her lovers which leads them to dangerous events. In our film Aslihan is this character as she hypnotizes men to get information of her fiance's killer. the word in french means "deadly woman" and a femme fatale tries to overcome the male with her beauty, charm and sexual charisma. femme fatales can also be villains where she can become a heroine in some narratives. examples in other films are the characters "Cat woman" and poison ivy in the batman films and xenia onatopp in "Goldeneye" who seduces men then murders them.
In this film the character displays a "femme fatale" representation because of her anger and vengeance. She does not necessarily seduce her victims, but sees herself as a victim of the people who had forced her in a mournful state. However, her attractiveness is only used as a tool to allow her to get away with her actions.
This character would be perfect for a thriller, especially a British film as this character is usually common in Hollywood films. It would be meeting the needs of its genre (thriller) because it would "thrill" the audience in the way this character works.
In this film the character displays a "femme fatale" representation because of her anger and vengeance. She does not necessarily seduce her victims, but sees herself as a victim of the people who had forced her in a mournful state. However, her attractiveness is only used as a tool to allow her to get away with her actions.
This character would be perfect for a thriller, especially a British film as this character is usually common in Hollywood films. It would be meeting the needs of its genre (thriller) because it would "thrill" the audience in the way this character works.
Shooting the second scene
The second scene was in a kitchen, we used Aya's kitchen to do this part. The kitchen was used because it is a domestic room, and the fact that every house has a kitchen shows this characters' familiarity the audience could have with the audience. The size of the room was good because it was quite small which shows that the character was independent and living on her own, rather than a big sized kitchen suggesting it would be a family kitchen. This also helps in our aim to show this character is not a stereotypical female character, when she enters the kitchen we decided that she would not do anything to do with chores; instead she just put down a coffee cup next to the sink and turned to her laptop. As a group we discussed that this was a good idea and portraying her as independent would show something about her personality. Aslihan (me) also had to wear smart casual clothing to distinguish the sides of her personality- she had to wear clothing fit to everyday style to get a "down to earth" persona, and to portray her daily routine. Her hair was straight in this scene to also distinguish this difference, as in the basment scene she had curly hair (a more mixed style hence the "mixed" hair - something which hasnt got order - mixed emotions).
The lighting was very light. This demonstrated her naivity, whatever was in front of her she saw, except for the "stalker": he was wearing black clothing to give a "bad" impression. The laptop was an alternative which i came up with to substitue a photo frame or a newspaper because it was easier to use and it had more of an effect to educate the audience on what was going on.
On the shot when the phone rang, we used Aya's phone, then we used Vedat's phone to make the ring, as though the phone in the shot (Aya's phone) was ringing. We did this because on our first attempt we rang the the phone using Serhan's phone but it caused an unwanted noise because of the camera. We redone the whole scene because of that noise, however we didn't delete the scenes because we might use some of the shots.
We kept talking minimal overall because we used iconography and symbolism for the audience to solve the film's mystery (just like how the film's narrative involves mystery).
We left the news article on the laptop for the audience to see, we also have light and dark to represent characters' personality.
We improvised on the script, even though it had been written out, but we wanted to keep it natural- however the structure of the dialogue was still the same ("Hey you alright?... Ok, im waiting for you").
We used a close up on the phone when it rang, with Aslihan in the background. We did this to create enigmas, "who is phoning her?" "Was she expecting that call?". We did this shot to show her reaction when the phone rang, and also to show what she is doing (she was looking through her laptop). When the call is answered it is her friend calling to pick her up. In the shot the hand seems as though it can grasp the audience, this shot gives this shot a texture, it also foreshadows what could happen next in the film: taking something maybe, collecting a possesion...?
This shot was put together by me and Vedat. We thought it would be a good idea to keep this shot, the inital plan was to make the phone out of focus and then in focus when it rang, however we couldn't do this and instead agreed that it was fine as it was without the extra editing.
Friday, 8 May 2009
Thursday, 7 May 2009
Changes in the storyboard
As a group, during the filming in the basement we have changed some parts of the storyboard to adapt to the setting. In the storyboard it starts off by a swinging light and then a shot of Serhan sitting on the chair and then me (Aslihan) entering through the door. However to make it more effective and to create tension we have decided to emphasise on Aslihan walking up to the room, simultaneously not explicitly showing her face (enigmas). We have done this because we wanted to concentrate on the main character (Aslihan) and make it obvious that the audience is on her "side". Also, because when we wanted to show Serhan, we wanted to create a sort of "surprise" for the audience as it would be unexpected, due to the female characters connotations of helplessness, the disturbing light flashing to the camera would create a better effect rather than the swinging light interwoven with the credits, this is because the credits interwoven with the actions instead would make a better opening, as it would seem like a soap if it was interwoven with the swinging light. As a group we believe these changes have improved the production, the storyboard allowed us to see what could be improved because it acted as a visual aid to visualise how the opening would flow and what effects it would have to the audience.
We also considered that for the last shot, where a car is needed, may not be possible. So to avoid disappointment we made a "back up" plan where if there is no car we would end the scene with the door closing and the camera concentrating on the newspaper article rather than entering the car.
There was also a plan for creating a basement setting. If no basement was available we planned on using black paper to cover windows of any ordinary room, and using a low voltage light bulb to create a "gloomy" affect. Luckily, we had an available basement.
The initial idea of concentrating on a photo frame of the murdered fiancee was changed because we wanted to make it more explicit to the reason of Aslihans actions in the first scene. We considered on creating a newspaper by using Microsoft Publisher, however we resorted to a simpler idea on using a laptop and making it seem as though the news was being read through he Internet. This also works better as it has representations of the change in era, and the improved technology for the current generations.
We also considered that for the last shot, where a car is needed, may not be possible. So to avoid disappointment we made a "back up" plan where if there is no car we would end the scene with the door closing and the camera concentrating on the newspaper article rather than entering the car.
There was also a plan for creating a basement setting. If no basement was available we planned on using black paper to cover windows of any ordinary room, and using a low voltage light bulb to create a "gloomy" affect. Luckily, we had an available basement.
The initial idea of concentrating on a photo frame of the murdered fiancee was changed because we wanted to make it more explicit to the reason of Aslihans actions in the first scene. We considered on creating a newspaper by using Microsoft Publisher, however we resorted to a simpler idea on using a laptop and making it seem as though the news was being read through he Internet. This also works better as it has representations of the change in era, and the improved technology for the current generations.
Wednesday, 6 May 2009
First Production meeting
We discussed on the locations. Our production plan had a basement for the first scene and a kitchen in the second scene. We were considering using any basement because that was the most difficult location to have, because no one in the group had a basement in their house. Serhan agreed on asking a pub owner to use the basment, if this was not possible then we would use a living room with low lighting and moving the furniture around to create a useless looking space. We had also discussed camera angles which would work well in thrillers such as point-of-view shots and high/low angles which would create representations of characters.
We all agreed that we should do the most important first:
We all agreed that we should do the most important first:
- Agreeing on the pitch
- Creating the treatment
- Drawing up the storyboard
Preparation
The group consists of four people and together, we allocated the different role as below:
- Producer=Aya and Aslihan
- Camera =Vedat
- Acting= everyone had a chance to act in the production.
Group Production schedule
Date Time Filming/Editing location People/roles Equipment
28/03 11-3:00pm Filming: Aya’s Producer:Aya -camera
-moving light bulb Living room and Aslihan. -tripod
opening scene. Actors: Aslihan -chair
-man tied onto chair and Serhan. -ropes
(bleeding and Camera Operator: -phone
unconscious) Vedat -keys
-legs shot (of women
protagonist entering)
-phone scene(ringing
and picking it up)
-phone conversation
-Dialogue between
the 2 protagonists.
-picking up keys from
table & canted shot of
newspaper).
-focus on newspaper
article.
28/03 11-3:00pm Filming: Aya’s Producers:Aya -camera
-putting the mug on Kitchen and Aslihan. -tripod
the kitchen surface. Actors: Aslihan -mug
-Knock at the front and Serhan and
door(friend who was Aya.
previously talking on Camera Operator:
the phone). Vedat
-Female protagonist
opens door and greets
friend.
28/03 11-3:00pm Filming: Front Producer-Aya and -Camera
-Closes house door Garden/ Aslihan -tripod
-Enters car outside of Actors:Aya and
-Has a brief casual house. Aslihan and
conversation. Vedat.
Camera Operator:
Serhan.
28/03 11-3:00pm Filming: Aya’s Producer:Aya -camera
-moving light bulb Living room and Aslihan. -tripod
opening scene. Actors: Aslihan -chair
-man tied onto chair and Serhan. -ropes
(bleeding and Camera Operator: -phone
unconscious) Vedat -keys
-legs shot (of women
protagonist entering)
-phone scene(ringing
and picking it up)
-phone conversation
-Dialogue between
the 2 protagonists.
-picking up keys from
table & canted shot of
newspaper).
-focus on newspaper
article.
28/03 11-3:00pm Filming: Aya’s Producers:Aya -camera
-putting the mug on Kitchen and Aslihan. -tripod
the kitchen surface. Actors: Aslihan -mug
-Knock at the front and Serhan and
door(friend who was Aya.
previously talking on Camera Operator:
the phone). Vedat
-Female protagonist
opens door and greets
friend.
28/03 11-3:00pm Filming: Front Producer-Aya and -Camera
-Closes house door Garden/ Aslihan -tripod
-Enters car outside of Actors:Aya and
-Has a brief casual house. Aslihan and
conversation. Vedat.
Camera Operator:
Serhan.
Treatment
Serhan is a a gangster who deals with massive drug deals around the world. One night, Serhan has conflict with a guy named Arif. He decides to clean him off the scene... However it has not all ended for Serhan. Aslihan (Arif's Fiancee) is a forensic investigator who has been after Serhan for years, but after Serhan coldly murders Aslihan's man the investigation gets personal.
Questioned by Aslihan on why he killed Arif, quotes like "he was simply at the wrong place at the wrong time" from Serhan will not help the situation which he has got himself into or will it?
Questioned by Aslihan on why he killed Arif, quotes like "he was simply at the wrong place at the wrong time" from Serhan will not help the situation which he has got himself into or will it?
Tuesday, 5 May 2009
Urban, Gritty Thriller
'A Room for Romeo Brass' has demonstrated the idea of the urban, gritty thriller. This is a suitable theme for British films as British films do not have connotations of special effects.
Urban, gritty thrillers feature everyday people, usually of working class, which is set in a local setting. This enhances the element of realism and captures the audience, its more effective as it has a strong familiarity with some of the audiences' lifestyle and perspective of Britain. These thrillers usually has a strong element of realism and that life is not always "Hollywood" (e.g. where the beautiful woman ends up marrying the "geek") and the storyline usually is off the narrative and end in a whole different situation. However confusing it may sound, there is a point that this is very effective and represents life's unexpected and external factors which may just change everything.
Having an unexpected resolution would "thrill" the audience which makes it an effective "thriller".
Urban, gritty thrillers feature everyday people, usually of working class, which is set in a local setting. This enhances the element of realism and captures the audience, its more effective as it has a strong familiarity with some of the audiences' lifestyle and perspective of Britain. These thrillers usually has a strong element of realism and that life is not always "Hollywood" (e.g. where the beautiful woman ends up marrying the "geek") and the storyline usually is off the narrative and end in a whole different situation. However confusing it may sound, there is a point that this is very effective and represents life's unexpected and external factors which may just change everything.
Having an unexpected resolution would "thrill" the audience which makes it an effective "thriller".
Friday, 1 May 2009
Our idea of the production
Our pitch pitch was decided upon by the research of conventional themes of thrillers. This research, stated below, include mostly crime. To have a conventional pitch would attract a certain audience who would be interested in watching the film.
The pitch is a woman seeking vengeance after the murder of her fiancee. As a group we agreed that the first scene in the opening would have conventional thriller iconography such as, stairs, mirrors, darkness (only one source of light maximum i.e. one light bulb). These ideas were all reinforced in the storyboard.
The pitch is a woman seeking vengeance after the murder of her fiancee. As a group we agreed that the first scene in the opening would have conventional thriller iconography such as, stairs, mirrors, darkness (only one source of light maximum i.e. one light bulb). These ideas were all reinforced in the storyboard.
Thursday, 30 April 2009
Research (1) : 'The Bourne Identity'
Analyzing successful films such as ‘The Bourne Identity’, in the thriller genre, is an effective way to understand what makes a good opening to a thriller film. The opening starts off with stormy weather and a man with gunshot wounds who found floating unconscious in the
Camera position/angles
- Underwater shot; low angle looking up to the floating body.
- Camera movement unsteady; makes the audience part of the scene; rocky motion of the ship.
- Series of shots of him being pulled up.
- Black out used to create a point-of-view of the character.
- Reaction shot of fisherman's face.
These shots and positions are typical of thrillers as they demonstrate detail in terms of how the characters feel, i.e. the blackout and the rocking motion of the ship. There is also the low angle shot of the body which is from a distance, creating suspense and uncertainty.
Allowing audiences to feel uncertain, lost and in suspense are typical of thriller films. Some of the the ways in which this is acheived are stated above with only a few examples from the film.
Using the typical shots in the opening establishes the genre and creates the desired effect.
Sound
- Non-diagetic soundtrack used to create suspense and tension.
- Diagetis counds: thunder/lightening/creaking lights and floorboards on the ship
- Foreign language alienates audience
- Cramped boat;men playing cards
- Stormy setting: isolation of the boat
- Contrast of the CIA office: calmness
- Worried look on CIA man's face
Thriller films work by combining all of the above to create an intellegent peice of film which builds the audiences' anticipation of what will come next. This opening is successful in acheiving the expected audience response as narrative enigmas are present. This is also proven as this film is a successful blockbuster and shows that people have been attracted to this film.
This film is a great example of a thriller and demonstrates the key elements into having a good opening scene.
.
'A Room for Romeo Brass' : Opening Film Credits
The opening film credits introduce the narrative and genre of the film, it details the main people involved in the making of the film i,e. actors, director and production crew.
The opening film credits introduce the characters who are two good friends and this is obvious through their dialogue. The location is also established and the tone of the film.
The audience are captured through the visuals/audio of the scene. The soundtrack is greatly involved in this as it establishes the tone of the film; elements of comedy because of the upbeat rhythm, however the lyrics are more of a "life lesson": "Stop your messin' around, better think of your future...or else you will wind up in jail". This gives an idea of what themes would arise in the rest of the film.
The setting are local giving a feel of "shooting-on-your-doorstep", especially for british people, this setting will allow them to have more of a connection with the characters and themes.
There are images between the credits which break down the credit sequence, volume goes up when credits are shown and down when the images are shown, when the music ends the credits are finished.
The use of music in representation of the themes in thrillers are a good way of promting the audience of what is to be expected; because it is the first peice of non-diagetic sound heard by the audience it sets a mood for the viewers to become captured in the film.
.
The opening film credits introduce the characters who are two good friends and this is obvious through their dialogue. The location is also established and the tone of the film.
The audience are captured through the visuals/audio of the scene. The soundtrack is greatly involved in this as it establishes the tone of the film; elements of comedy because of the upbeat rhythm, however the lyrics are more of a "life lesson": "Stop your messin' around, better think of your future...or else you will wind up in jail". This gives an idea of what themes would arise in the rest of the film.
The setting are local giving a feel of "shooting-on-your-doorstep", especially for british people, this setting will allow them to have more of a connection with the characters and themes.
There are images between the credits which break down the credit sequence, volume goes up when credits are shown and down when the images are shown, when the music ends the credits are finished.
The use of music in representation of the themes in thrillers are a good way of promting the audience of what is to be expected; because it is the first peice of non-diagetic sound heard by the audience it sets a mood for the viewers to become captured in the film.
- This is a strong element to use in my thriller opening scene to determine what will occur.
.
Reseach on Psychological Thrillers
Psychological thriller: The conflict between the main characters is mental and emotional, rather than physical.
Generally, thrillers focus on plot over character and emphasize intense, physical action over the character's psyche. Psychological thrillers tend to reverse this formula to a certain degree, emphasizing the characters just as much, or more, than the plot. The suspense comes from within one character where characters must resolve conflicts with their own minds. Usually, this conflict is an effort to understand something that has happened to them.
Common themes of this type of thriller include:
- Death: The character usually has a fascination with death, or a death.
- Perception: Often characters misperceive the world around them, or their perceptions are altered by outside factors within the narrative.
- Reality: Characters often try to understand what is true or false within the narrative.
This type of thriller interests me, like British films, have an unexpected twist which i beleive would be suitable to feature in a low budget film in order to allow audiences to engage to the narrative without the need of special effects. I have picked three themes out the common themes as i beleive this would be the most suitable for the product. The opening will include some enigmas which are associated with these themes.
Friday, 10 April 2009
What makes an effective 'Thriller'?
According to Martin Rubin, there is no such thing as a 'Thriller'. The 'Thriller' is in fact a metagenre which "gathers several other genres under its umbrella". An effective thriller should keep the audience in a state of mind where they only know as much as the characters within the film, and there should always be unanswered questions (narrative enigmas), playing with or deceiving the audiences' mind. A thriller is designed to keep the viewer on edge with suspenseful and sensational action
Thrillers typically involve sudden plot twists and keeping people unsure about what is going to happen. This suspense can get almost unbearable, especially in a long piece of media which usually ends in a resolution answering all unanswered questions. An example of this sort of suspense is featured in the film 'Memento' where all the ends of the questions gradually meet and lead to the ultimate initial question which was set in the beginning of the film, which is answered at the end (to justify why the main character has shot his friend). Thrillers also have a lot of action, which is often chaotic, and they typically feature resourceful heroes and exotic settings. 'The Bourne Identity' can be used as an example of the conventional chaotic actions and exotic settings.
Gary Braver described thrillers in the following words, ‘dread drives thrillers. You know who the good guys and bad guys are. Dull moments will lose an audience, and writers can't afford to lose an audience, even for one page.’ Although Braver was refering to text Thrillers his quote is still usefull, as both text and film thrillers have the same conventions.We learn from Braver's quote that in order to make a successful Thriller, it is essential that the film produced maintains the viewer’s interest as well as make the good and bad characters known. I planned to use Braver's advice inorder to ensure my film complied well with thriller films as well atracted it's audience.
Along with this Braver presented 10 key points that when included in a Thriller, will make it succesfull…
1. You need to have a good story. (we drafted many copies of the storyboard improving it everytime)
2. Write about the underdog.
3. Multiple points of view give great range in a thriller.
4. Have an action scene in the introduction.
5. Reveal what the protagonist fears and aspirations are.
6. Make your characters miserable.
7. Your main characters have to change.
8. Pacing must be high: Strong Narrative Thrust.
9. Show—don't tell.
10. Teach the audience something.
Thrillers typically involve sudden plot twists and keeping people unsure about what is going to happen. This suspense can get almost unbearable, especially in a long piece of media which usually ends in a resolution answering all unanswered questions. An example of this sort of suspense is featured in the film 'Memento' where all the ends of the questions gradually meet and lead to the ultimate initial question which was set in the beginning of the film, which is answered at the end (to justify why the main character has shot his friend). Thrillers also have a lot of action, which is often chaotic, and they typically feature resourceful heroes and exotic settings. 'The Bourne Identity' can be used as an example of the conventional chaotic actions and exotic settings.
Gary Braver described thrillers in the following words, ‘dread drives thrillers. You know who the good guys and bad guys are. Dull moments will lose an audience, and writers can't afford to lose an audience, even for one page.’ Although Braver was refering to text Thrillers his quote is still usefull, as both text and film thrillers have the same conventions.We learn from Braver's quote that in order to make a successful Thriller, it is essential that the film produced maintains the viewer’s interest as well as make the good and bad characters known. I planned to use Braver's advice inorder to ensure my film complied well with thriller films as well atracted it's audience.
Along with this Braver presented 10 key points that when included in a Thriller, will make it succesfull…
1. You need to have a good story. (we drafted many copies of the storyboard improving it everytime)
2. Write about the underdog.
3. Multiple points of view give great range in a thriller.
4. Have an action scene in the introduction.
5. Reveal what the protagonist fears and aspirations are.
6. Make your characters miserable.
7. Your main characters have to change.
8. Pacing must be high: Strong Narrative Thrust.
9. Show—don't tell.
10. Teach the audience something.
The effect of openings
Narrative enigma is a question that underpins a story and will usually be answered at the conclusion of the film.
Narrative enigmas, especially doubled with psychological thrillers would, in my opinion, make an interesting film. Although the product is an opening, and what the conclusion would be has not been decided, the opening sequence achieves to create enigmas from the very beginning:
Todorov's theory of equilibrium, disruption and resolution gives a balance of a thriller. However, setting the disruption first within the opening makes it more likely to attract audiences and concerned with the narrative.
Narrative enigmas, especially doubled with psychological thrillers would, in my opinion, make an interesting film. Although the product is an opening, and what the conclusion would be has not been decided, the opening sequence achieves to create enigmas from the very beginning:
- Who is that man?
- Who is that woman?
- Why is she doing that?
- Why is he being tortured?
- What are their relationship?
- Where are they?..
- Why?
Todorov's theory of equilibrium, disruption and resolution gives a balance of a thriller. However, setting the disruption first within the opening makes it more likely to attract audiences and concerned with the narrative.
Monday, 2 March 2009
British Social Reality Dramas - Kitchen Sink Realism
Social realism in films is representative of real life, with all its difficulties. The stories and people portrayed are everyday characters, usually from working class backgrounds. Typically, films within the social realist canon are gritty, urban dramas about the struggle to survive the daily grind. The term “kitchen-sink” drama gives the idea of a home, the kitchen known as the “heart of the house”, however, a sink is something every home has, but the imagery this gives is the stainless steel typical working class sink.
"A Room For Romeo Brass" directed by Shane Meadows is about two twelve-year old boys, Romeo and Gavin, who are best friends, however their friendship is tested when an older stranger (a less desirable character) comes between them. The film is set in a local everyday setting of, probably, council houses; giving a feel of "shooting on your doorstep" sort of film where most people can familiarise with the area. “Kitchen- sink” dramas tend to be known as productions which do not follow the conventions of most other films, however, as it is shown in “A Room For Romeo Brass” unexpected twists is a convention of this genre and this just emphasises the fact that life can be complicated and unexpected events may occur. The theme can also be familiarised with as everyone could relate to them, in Shane Meadows’ film even though the main characters are quite young, it shows the “dark side” of childhood, audiences varying from ages of teenage and middle age can easily relate to the film as it features themes of family life, crime, relationship and other everyday concepts.
"A Room For Romeo Brass" directed by Shane Meadows is about two twelve-year old boys, Romeo and Gavin, who are best friends, however their friendship is tested when an older stranger (a less desirable character) comes between them. The film is set in a local everyday setting of, probably, council houses; giving a feel of "shooting on your doorstep" sort of film where most people can familiarise with the area. “Kitchen- sink” dramas tend to be known as productions which do not follow the conventions of most other films, however, as it is shown in “A Room For Romeo Brass” unexpected twists is a convention of this genre and this just emphasises the fact that life can be complicated and unexpected events may occur. The theme can also be familiarised with as everyone could relate to them, in Shane Meadows’ film even though the main characters are quite young, it shows the “dark side” of childhood, audiences varying from ages of teenage and middle age can easily relate to the film as it features themes of family life, crime, relationship and other everyday concepts.
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