Thursday, December 06, 2007


Graham Sykes Character Study
For my first audiovisual assessment task this year we were told to split into groups of 4 or 5 and plan and produce a 3 minute non-fictional character study which informs and entertains the audience of character of interest to me. So we basically had to find a colourful/interesting character and film a short documentary about his/her life.

I formed a group with Alex, Cat and Ash who I worked with on the Holding Pattern film earlier in the term. We had soon found a character who we felt had an interesting life and would be interesting to listen to. His name is Graham Sykes (he works with Ash down at the Water Sports Centre) and although I had never met him, I was told:

1. He used to be a deep sea diver in the North Sea.

2. He used to be a racing car driver.

3. At the age of 59 had just found out that he is adopted.

4. Smokes on average 40 roll-up cigarettes a day.

So going on that information felt like he would definitely be an interesting character to meet, particularly since I am very interested in diving and also share his penchant for 'rollies'.

On meeting Graham I found him instantly likable. He pulled up in his old MG dressed in a shirt and black leather jacket and wearing sunglasses. He was quite short and very skinny and years of smoking and drinking was evident in his face. However he was very happy and chatty, and came across as being pretty cool for his age. He was someone who seemed very content in that he had lived a very interesting and fulfilling life, and really enjoyed reminiscing of his various tales from a range of very different stages in his life. Although judging from his appearance and his love for danger you expect him to be a little quirky or mad, he was actually very level headed and intelligent. I think he also secretly loved the idea of himself being the star of a documentary and happily sped around in his MG for the camera.

Overall a great character and a great day.
Character
Considering that characters are the main driving force in a film and also usually the main focus of interest, I thought I would start thinking about characters for my Stage 2 assessment, I am supposed to create two main characters in my script.
In films there various types of character:

Driver Characters:
Protagonist:
"... the driver of the story: the one who forces the action." Defined by "Pursue" and "Consideration" characteristics.
Antagonist: "... the character directly opposed to the Protagonist." "Prevent" & "Re-consideration".
Guardian: "... a teacher or helper who aids the Protagonist..." "Help" & "Conscience"
Contagonist: "... hinders and deludes the Protagonist..." "Hinder" & "Temptation"
Passenger Characters:
Reason:
"... makes its decisions and takes action on the basis of logic..." "Control" & "Logic"
Emotion: "... responds with its feelings without thinking..." "Uncontrolled" & "Feeling"
Sidekick: "... unfailing in its loyalty and support." "Support" & "Faith".
Skeptic: "... doubts everything..." "Oppose" & "Disbelief"

Round characters are so detailed that they seem real. Protagonists are normally round characters, though notable exceptions exist. Antagonists are often round as well, though comedic villains may be almost farcically flat.

A flat character is distinguished by its lack of detail. Though the description of a flat character may be detailed, the character itself barely has detail and usually just follows one characteristic. A number of stereotypical, or "stock" characters, have developed throughout the history of drama. Some of these characters include the country bumpkin, the con artist, and the city slicker. These characters are often the basis of flat characters, though elements of stock characters can be found in round characters as well.
Supporting characters are generally flat, as most minor roles do not require a great deal of complexity.

A dynamic character is the one who changes significantly during the course of the story. Changes considered to qualify a character as dynamic include changes in insight or understanding, changes in commitment, and changes in values. Changes in circumstance, even physical circumstance, do not apply unless they result in some change within the character's self. By definition, the protagonist is nearly always a dynamic character.

In contrast, a static character does not undergo significant change. Whether round or flat, their personalities remain essentially stable throughout the course of the story. This is commonly done with secondary characters in order to let them serve as thematic or plot elements.
Supporting characters and major characters other than the protagonist are generally static, though exceptions do occur.

Below are examples of some of my favourite movie characters:

Beetlejuice (Michael Keaton), Beetlejuice
Beetlejuice is kind of like a twisted adult version of 'Casper the Friendly Ghost'. He has charm and charisma, and is overall a very likable guy, however he is also sleazy, deceitful and generally a menace. He is actually the villain in the film, however due to the strong and outrageous nature of his character he comes off more like the hero. He is always smiling and cracking jokes no matter what the circumstances and is friendly to everyone he meets. Other great aspects of his character come from the way he talks and moves. His voice is gruff and sleazy and he talks at a fast pace jumping from subjects randomly. His facial expressions and movements are also jerky and exaggerated. His appearance and the clothes he wears also elevate his character, his standard outfit(not shown in clip) is a stripey black and white suit with tie, while his face is also black and white with green frizzy hair. This appearance pretty much symbolises him as a sleazy joker crackhead clown.


Duke (Johnny Depp), Fear and Loathing in Las Vegas
Duke from Fear and Loathing is overall a confused paranoid strange little man. Throughout the entire film he is staggering about hallucinating on a cocktail of different drugs. The way he talks and moves is not too different from Beetlejuice; Duke speaks fast paced drug fuelled gibberish and moves about with a jerkiness which illustrates the confusion and paranoia going on in his head. He generally comes across as bit of a lovable crazy man who loves his hallucinogenics, however this is not always the true nature of his character as his mind and mood changes throughout the film depending on where the drugs have taken his mind, so is not really possibly to see the 'true Duke' in this film. Again his appearance helps define his character; a hawaian shirt, fisherman hat, balding head, aviator sunglasses and with a long cigarette holder always hanging out of his mouth; this illustrates him as being a crazy deluded middle aged man.


Francis Begbie (Robert Carlyle), Trainspotting
Begbie is a terrifyingly realistic character and as far as real life goes he is pretty much evil; however again due to such strong character, he is very hard to dislike. He is your typical beer, sport and women loving pub-goer, however has a temper which is ready to explode at any moment in which he transforms from a relaxed charming Scotslad into a violent knife wielding psychopath. He literally thrives on violence seeming to generally enjoy brutally beating people and looks for an excuse to fight at every opportunity possible. There are times in the film though where Begbie does seem like a generally nice guy and the audience can really start to warm to him, but his temper will always get the better of him; this contrast in personality makes Begbie a very interesting and frightening character to watch. I feel his appearance also emulates this - denim/leather jacket, shirt, large moustache, slicked back hair and average height isn't the most intimidating of appearances, which makes it even more shocking when he loses his temper. His character can also be shown by how his face and manner seems so relaxed and casual up until the whistle blows for a fight where his face becomes demonic and psychotic.

FEW MORE TO COME.
How to Write a Script
1. Get your story straight. Come up with a specific idea of what you want to happen in the play or movie. Create the premise and purpose of that story. What are the circumstances and what are the goals of the story and main characters involved?

2. Your characters will drive the action on the stage or screen, so make sure you make them interesting and innovative. It may not be necessary for you to develop all of the characters right away, but some writers need to have everything set out before they can begin working. Find your method and work with it.

3. Create an outline or treatment. Before you begin actually writing dialogue and script, it might help to create a basic roadmap of what will happen in your story. Sketch out a general plan and envision how events will unfold. This should be told in the third-person.

4. Maintain your style. Remember, scripts are all about action and dialogue. Make sure your characters speak realistically, and try not to mix styles of speech and vocabulary too much unless you are going for a certain effect.

5. Ensure that different characters have their own 'voice' based on their background, which will affect their word choices and dialect. This will stop your characters from blending into one another.

6. Set the scene. Don't forget to include important details such as time of day, setting, and actions of the characters in the scene. These are nearly as important as the dialogue that occurs.
7. Format your writing. Skip lines between one character speaking and a different one speaking, especially if you're handwriting it. This will enable those reading the script to distinguish between speakers more easily, and also allow space for notes.

8. Edit yourself. Continually revise your writing, and, if possible, show the script to a friend or adviser who has writing experience and can critique and improve the script as needed.
Script Writing
I am starting to research various ideas and scripts to help with writing my own script. As mentioned before I pretty much worship South Park.....the characters and stories are strange and hilarious while the meanings and morales are generally insightful and true. Overall the show is funny, crude, surreal and intelligent......all qualities that I appreciate. I would therefore love to create a script which held similar qualities but could be written for film (on a low budget) rather than cartoon. More recent series' of South Park have become increasingly intelligent and complex, full of messages and political views which are far beyond my intellectual capacity.....however earlier episodes had more simple premises such as mutant turkeys, aliens, zombies and talking Christmas poo which is more the kind of feel I'm aiming for.......stupid and surreal.

Here is an exert from a classic season 2 episode, "Prehistoric Ice Man".
Further South Park transcripts can be viewed here: http://www.angelfire.com/nf/spdomain/script.html

[on a hill]

[the scamps each have supersoakers]

Cartman [with an accent]: There's bound to be some crocs out here. I'll use my croc-call and try and bring them in. Bre-ni-ni bre-ni-ni!

Kyle: That's not how a croc sounds you fatass penis!

Cartman [with an accent]: Now I'm gonna kick my friend Kyle in the bean-bag and see what happens, boy crocky

[Kyle moves away and Cartman follows him]

Kyle: Get away from me, Cartman!

Cartman [with an accent]: Come here, crocky

[Kyle trips over a rock]

Kyle: Ah!

[Kyle falls into a hole]

[the scamps go over to the hole]

Stan: Dude!

Kyle: Help!

[Kyle hits the bottom]

Stan: Good job Cartman! You killed Kyle!

Kenny: {You bastard!}

Cartman: Well he shouldn'tve called me fat

Stan: Why the hell not?! That's like calling the sky blue!

Cartman: Well screw him, he's dead! Let's go look for crocodiles

[he walks off]

Kyle: You guys!

Stan: Hey, he's still alive

[Cartman comes back]

Stan: Kyle, are you okay?

Kyle: I think so. I Cartman out there?

Cartman: I'm right here, Kyle

Kyle: Cartman, you fuckin hunk of fat rat fuckin hunk of pig fuckin ass fat!

Cartman: Oh yeah! Oh yeah! Say that to my face, pussy!
"Show me, Don't Tell me" Seminar
This seminar with Jools allowed us to practice our script writing skills. We were given a limited amount of time to write dialogue based upon various given scenarios. Actually really enjoyed doing this task...been a good 6 years since doing my English GCSE and was fun to do some sort of creative writing once again. Going to start taking a deeper interest in this writing for screen media especially as we've got to write that 6 page script for next terms assessment task, but also because I love the creative side of it and being able to do exactly what I want.....write a story from a vision and make them say and do exactly what I want them to. Don't think much of what I'll want to write will always make too much sense or be very realistic, but then I appreciate surrealist/off-key styles of film and animation (e.g.South Park) so thats pretty much the point of it.

Story A
Complete dialogue....should be about two people discussing how they should deal with/pass on some bad news without saying what the news is.

A – What are we going to do about this?

B – I dunno

A – Well, we’ve got to do something

B – Why?

A – Because she gonna find out at some point

B – Maybe we could just buy her a new one and pretend it never happened yeah? All those things look the same…not like she gonna check it’s fucking dental records or something.

A – I dunno bout that….check it for any distinguishing marks.

B – There ain’t nothing to check….it got a head, legs n a shell.

A – Alright….where the nearest pet store?

B – Kilburn High Street.....I think.

A - You got money?

B - You the one with the snobby high paying estate agent job.

A - You're the one that dropped the kettle on it's fucking head!

B - Fair enough....I'm broke though, I'll have to owe you.

A - You better. Come, let's get this shit sorted before she gets back.

Story B
Swap scripts with someone else. Edit, add or delete text for dialogue to tell a story of either two parents discussing how to explain their divorce to their children or of a driver and passenger lost on the road.

A – What are we going to do about this?

B – I dunno

A – Well, we’ve got to do something

B – Why?

A – Because she’s gonna find out when she wakes up

B – Maybe she’ll stay asleep we’ll find our way home and it’ll be like it never happened yeah? All those things look the same…this maps shit.

A – I dunno bout that….check it for any distinguishing marks.

B – There ain’t nothing to check….it got red lines, green lines and little chef symbols.

A – Alright….where the nearest petrol station? You got money?

Story C
Use affection or anger, through dialogue hint at how B feels about A. Add actions (stage directions that enhance the situation and/or characters.

LIVING ROOM/NIGHT
A – Where the fuck did you put my vodka Frank?

B – I haven’t touched your vodka darling.

A – Don’t lie to me you sonovabitch, I know you took it, you can’t tell me what to do you piece of shit….I’m gonna call da police….I’m gonna make you pay for demoralising my fre-fre-fre.....

B – KIM! PLEASE.....sit down and shut up…..your drunk…..listen to me….I havn't touched your vodka….you probably left it under your pillow again.....or in the bathroom cabinet with your toothbrush.

Kim leaves living goes into bathroom.....there is silence.Frank sits in his lazboy awaiting her return.Kim comes out holding a quarter-full large bottle of Smirnoff.

A - I didn't leave that there you bastard!

B - Who did then?The Tooth Fairy?Santa Claus?Ice-T???Maybe even your 2 year old daughter went looking through the alcohol cabinet for it, climbed up onto the bathroom sink and hid it there as some kind of humourous prank!

A - You did it! you evil lying sonovabitch!I know what you're trying to do......break me down and drive me out of the house!

B - Whatever darling.I'll see you later..............bitch (under his breath).

Frank takes a rolled up £10 note and snorts a 4-inch line of ketamine off a 'Little Mermaid' DVD case.

Wednesday, December 05, 2007


Seeing the Story Seminar: Working the Script
For this exercise we were asked to find a script for a film that we hadn't seen or known very much about and read through the entire script twice. We were to then write various analyses on the what we had gathered from the film. I have chosen to read the script for Shallow Grave, directed by Danny Boyle. I chose this as it is a film that I have always heard of but never really known what it is about. However my primary reason for choosing this film is because I recently discovered it was directed by Danny Boyle, the same guy who directed Trainspotting, a film with a brilliant script and story, and also strongly themed on drugs and violence in the U.K, themes which I find very interesting; so am hoping for this film to roll somewhere in the same direction.


Tasks 1. Write an outline. (Present tense short story form concentrating on what the audience will see and hear. It also summarizes dialogue.)
The story begins with three friends/tenants interviewing potential candidates to live with them in the spare room of their upmarket Edinburgh flat. Alex (a journalist), Juliet (a doctor) and David (an accountant) are upper-middle class snobs and shun away all candidates based on first appearances.A conservation between Alex and a candidate:

ALEX Good. Well, you've seen the flat?
CAMERON Yes.
ALEX And you like it?
CAMERON Oh, yes, it's great.
ALEX Yes. It is, isn't it? We alllike it. And the room's nice too, don't you think?
CAMERON Yes.
ALEX Spacious, quiet, bright, well appointed, all that sort of stuff, all that crap.
CAMERON Well, yes.
ALEX So tell me, Cameron, what on earth -- just tell me, because I want to know -- what on earth could make you think that we would want to share a flat like this with someone like you?

They finally accept a man called Hugo to share the flat with them on the basis of being 'interesting'. (Elsewhere two thugs, Andy and Tim, violently assault and rob a man in the streets.)

The morning after Hugo moves into the flat, the three friends find him dead in his bed from drug overdose. They are about to call for emergency services when Alex finds a bag full of money in Hugo's room. Over the next few days the three contemplate whether to call the police about the body and risk losing the bag of money, or keeping the money and disposing of the body....they decide on the latter. They cut up and mangle the body beyond recognition and bury it in the forest; David who is least keen on the whole idea is opted to do everything. (Meanwhile Andy and Tim drowned a man in a bath during after interrogating him.) Alex and Juliet seem undeterred by what they have done, while David who cut up the body is obviously a little edgy. They hide the money in the attic for safety.
(Andy and Tim interrogate yet another man this time using a deep freezer).

The trio are at a charity ball enjoying themselves as if nothing has even happened although David seems a bit paranoid and more aggressive than before. The next day Alex and Juliet go on a stupendous shopping spree and record it using their new camcorder, David is angry about this and shows increasing paranoia. David is woken at night by a break-in in the downstairs flat, the women has been beaten badly.
David's paranoia begins to peak as he begins living in the attic and missing work to look after the money. The following evening the thugs,Andy and Tim, break into the flat, they tie up Alex and Juliet before smashing Alex's shin with a crowbar, they are looking for the money and Alex tells them its in the attic.Tim goes up to look for it but David is waiting in the darkness with a hammer.There is a thud and Andy goes up to investigate.Moments later the two dead bodies of Tim and Andy fall from the attic.Once again the three friends go into the forest to bury another two bodies.

Alex is on edge. Juliet buys a one-way plane ticket to Rio De Janeiro.David continues to spend his time in the attic guarding the money, his paranoia escalates further as he drills peepholes through the attic floor so he can spy on people in the flat. Alex and Juliet begin to get very worried about David's mental health and talk in the garden while David goes searching through their stuff. Two detectives, McCall and Mitchell turn up at the flat and question David about the break-in downstairs.

Alex decides to go up into the attic to speak to David while Juliet waits by the ladder.David is not there so Alex looks for the money while David has gripped Juliet forcefully by the head downstairs.When Alex gets down from the attic, David is there with his electric drill, he holds it to Alex's head while interrogating him about the police.He is suspicious that Alex and Juliet called them, he lets them go after mildly cutting Alex with the drill.

The three bodies in the forest are found and Alex is sent to cover the story by his newspaper.Meanwhile David and Juliet have a heart-to-heart.Alex is taken to the crime scene in the forest but can't handle it and runs away.Detective McCall notices this.

The next day the two detectives, McCall and Mitchell question each of the friends individually about the murder of Tim and Andy...their car had been found right outside the flat.The detectives know they have something to do with the bodies but can't prove anything yet. Alex awakes froma nightmare, Juliet is at the end of his bed, she informs him that her and David are an item and they plan to leave together.

David is awake late at night in the attic, he takes the money and gathers his passport and clothes etc.Meanwhile Alex is trying to telephone Detective McCall.Juliet is awake too and is planning to leave with David, though David had 'forgotten' to wake her.David informs Alex that they are leaving; everything is on good terms until it comes to light that Juliet has only bought a plane ticket for herself and is planning to run with the money.Alex tells David that he bought one too and was planning to leave with Juliet;feeling angry and betrayed David tries to leave on his own with the money, Juliet tries to stop him and is punched to the ground.A brutal fight breaks out between Alex and David and ends with David stabbing Alex through the chest pinning him to the floor, but before he can finish him off, he is stabbed in the throat by Juliet. Juliet takes the bag of money and plane ticket leaving them both to die. However Alex dies with a smile as it appears the bag Juliet has taken only contains scraps of newspaper while the money has been secretly stashed underneath the floorboards.

David lies dead in the morgue.A voiceover of David says:
"Oh, yes, I believe in friends, I believe we need them, but if, one day, you find you can't trust them any more, well, what then, what then?"
David's body is slid into a morgue slot.Darkness.

2. Write a premise. (Couple of sentences that will summarize the underpinning ideas regarding the film’s dramatic structure and development.
The main premise of the script for this film is story of three good friends and respectable members of society being driven to soulessly mutilate and dispose their dead flatmate's body in order to keep his bag containing a large amount of money . The money proves more trouble than its worth though as police and drug dealers close in on them, and as paranoia begins disintegrate their friendship.

3. Point of view. What belief or outlook does the story seek to express?
The story seeks to express the evil of money and overall to remember to never value money over your friends. This is shown from the beginning as Alex, David and Juliet being respectable citizens and the best of friends until the money comes into their lives. The three's friendship becomes increasingly distant and mistrusting of each other and they are forced to perform increasingly wrongful deeds, until they eventually end up alone and dead. It shows that money can destroy even the best of friendships; and in some cases, one's sanity.

Although the script is written from an audience point-of-view much of the story seems to be based around David's increasing paranoia over the money, the police and his friends. David who is originally the more sensitive of three is turned into a paranoid murdering lunatic throughout the story. He is the one who draws the short straw and is opted to mutilate the first body himself. He therefore feels more responsible for what they have done and becomes increasingly paranoid and aggressive which is one of the focal points for much of the story and creates the tension between the friends.Later in the story this is proven when he happily murders two people with no questions asked, this forces the story to escalate to a next level, and Alex and Juliet who after the first mutilation had carried on as completely happy and normal, now start to feel the paranoia and pressure.David is therefore responsible for the progression of the story which I feel makes him the primary character in the script.

4. Post a summation of your views on your online journal. Make intelligent reference to other work available by the writer. Whether that be other screenplays, novels, poetry, etc.
I actually quite enjoyed reading this script, was like reading a book in a tenth of the time, hearing a new story but a briefer version of it. I liked this script, it had a kind of black comedy feel to it...although a lot of the events are in reality quite disturbing, the script seemed to take a lighter approach to it. For instance the way the characters seemed completely unphased at discovering a dead body in their home is quite surreal. Although the story is obviously based around Alex, David and Juliet and their friendship, I would have liked to have had more character development and background story from other characters such as their dead flatmate Hugo and the two thugs Tim and Andy. However I generally found the main characters relationships compelling and the story and dialogue fairly interesting to read and to see how the story developed.

This was the writer John Hodge's debut film script before writing the screenplay for Trainspotting two years later. I can see a lot of similarities in style and context between the Shallow Grave script and the film Trainspotting, particularly the way in which the story is based around a group of friends who's true friendship is tested over money. Although in Trainspotting it is more apparent from the start that the friend's friendship wasn't made to last seeing that the three of them are thieving heroin users and one a violent psychopath, a lack of respect for each other is also apparent, however they are still 'mates'. But in the end given the chance of escape from the junkie way of life with a suitcase full of money, one of them betrays his friends and takes off.

I found that the use of violence in both stories was also quite similar, both being pretty brutal; Shallow Grave has a scene where two thugs repeatedly smash an innocent man's face into a cash machine in order to take his cash, while trainspotting shows one of the main characters glass a man in the face and kick his head in for spilling a pint on him.

However the two films are very different in the fact that Shallow Grave is written from a audience P.O.V. never really displaying the events from any singular characters point of view, where in Trainspotting the script is written from the main character,Renton's, controlling point of view, therefore the majority of action and shots are centred around him and from his perspective.

Thursday, November 29, 2007

Editing Seminar
During Deb's seminar last week we were given a range of random different clips from adverts and tv exerts and told to create a new story or meaning by editing them using Premiere. I found this quite difficult at first because I found a lot of the clips weren't particularly interesting so took a while to trawl through them and find some good material. Below is my attempt at this. The story is basically about some guy who takes a 2CB pill in a pub, has intense hallucinations and then dies. I couldn't do as much with this as I hoped to beacause I only have the trial version of Premiere on my PC (also lack of time) so wasn't able to add any effects or mix the audio properly so the result is kind of half finished...will try and make it better (particulalrly the audio) once I have the full version of Premiere. I have used the montage editing technique here to give a surreal and disjointed effect.

Wednesday, November 28, 2007

Editing
We have been asked to find a piece of writing about editing that me. I am particularly interested in montage editing as I find it to be more artistic and allows you to use imagery in a way to make something look more exciting and appealing than it maybe actually is, for instance with film trailers.This style of editing is also used in adverts/commercials, a side of audiovisual design which I am quite keen to get involved in.

The paragraphs below are taken from http://www.cybercollege.com/tvp050.htm.

Thematic/Montage Editing
In thematic editing, also referred to as montage editing, images are edited together based only on a central theme. In contrast to most types of editing, thematic editing is not designed to tell a story by developing an idea in a logical sequence.

In a more general sense, thematic editing refers to (as they say in the textbooks) a rapid, impressionistic sequence of disconnected scenes designed to communicate feelings or experiences.

This type of editing is often used in music videos, commercials, and film trailers (promotional clips).

The intent is not to trace a story line, but to simply communicate action, excitement, danger, or even the "good times" we often see depicted in commercials.

From continuity, relational, and montage editing we now move to a technique for enriching editing and stories by adding extra "layers."
Below are some examples:

Kidulthood Trailer



Wu-Tang & Onyx - The Worst music video



Playstation 3 advert


Parallel Cutting
Early films used to follow just one story line -- generally, with the hero in almost every scene.

Today, we would find this simplistic story structure rather boring.

Afternoon soap operas, sitcoms, and dramatic productions typically have two or more stories taking place at the same time.

The multiple story lines could be as simple as intercutting between the husband who murdered his wife in the previous scenario and the simultaneous work of the police as they try to convict him. This is referred to as parallel action.

When the segments are cut together to follow the multiple (different) story lines, it's referred to as parallel cutting.

By cutting back and forth between two or more mini-stories within the overall story, production pace can be varied and overall interest heightened. And, if the characters or situation in one story don't hold your attention, possibly the characters or situations in one of the other storylines will.
Example:

Lock Stock and Two Smoking Barrels

Thursday, November 22, 2007

Films of Interest
I have decided to start composing a list of films that are of interest to me in terms of visual style, plot or script which I can derive influence from. I appreciate films that display interesting or surreal set and costume design or an off key visual style as well as an unusual plot therefore am particularly interested in the horror genre when it comes to film making.
I have only listed the film and director for these films for now but shall be making a deeper analysis into all aspects of these films on my journal throughout the year. I

Killer Klowns from Outer Space - The Chiodo Bros.
Halloween - John Carpenter
Sin City - Robert Rodriguez/Frank Miller
Beetlejuice - Tim Burton
Team America - Trey Parker & Matt Stone
Big Trouble in Little China - John Carpenter
Fear and Loathing in Las Vegas - Terry Gilliam
Planet Terror - Robert Rodriguez
Predator - John McTiernan
Pulp Fiction - Quentin Tarentino
Kidulthood - Menhaj Huda
Lock Stock & Two Smoking Barrels - Guy Richie
Child's Play - Tom Holland
Heathers - Michael Lehmann
Labrinyth - Jim Henson
A Nightmare Before Christmas - Tim Burton
Cat's Eyes - Lewis Teague
Tales from the Darkside - John Harrison
Twilight Zone: The Movie - Joe Dante/John Landis/George Miller/Stephen Spielberg
True Romance - Quentin Tarentino
Batman Returns - Tim Burton
Black Christmas - Bob Clark
Pee Wee's Big Adventure - Tim Burton
Dolls - Stuart Gordon
Little Shop of Horrors - Frank Oz
The Trip - Roger Corman
Indiana Jones & The Temple of Doom - Steven Spielberg
The Goonies - Steven Spielberg
Jaws - Steven Spielberg
Hostel - Eli Roth
The Warriors - Walter Hill
Ong-Bak - Prachya Pinkaew
Terrorvision - Ted Nicolaou
Trainspotting - Danny Boyle
A Nightmare on Elm Street - Wes Craven
The Beach - Danny Boyle
Alice - Jan Svankmajer
Itchi the Killer - Takashi Miike
The Grudge - Takashi Shimizu
Full Metal Jacket - Stanley Kubrick
The Shining - Stanley Kubrick
Eraserhead - David Lynch
Aliens - David Cameron
The Evil Dead Trilogy - Sam Raimi
Requiem for a Dream - Darren Aronofsky
From Dusk Till Dawn - Robert Rodriguez
The Wizard of Oz - Victor Fleming
Blade Runner - Ridley Scott
Heavenley Creatures - Peter Jackson
The Terminator - David Cameron
Braindead - Peter Jackson
Kids - Larry Clark
The Texas Chainsaw Massacre - Tobe Hooper
Alligator - Lewis Teague
Creepshow - George A. Romero
Romeo Must Die - Andrzej Bartkowiak
Total Recall - Paul Verhoeven
Dead Presidents - The Hughes Brothers
One Hour Photo - Mark Romanek
House II - Ethan Wiley
Natural Born Killers - Oliver Stone
Gangster No. 1 - Paul McGuigan
Pan's Labyrinth - Guillermo del Toro
The Crow - Alex Proyas
Holding Pattern
After completing all the necessary preproduction work me and my 4 strong film crew began our 2 long days of filming. Although I did not find this to be most interesting of scripts (particularly as there was only one main character and no dialogue), this experience was invaluable as it was the first time I had the opportunity to properly use all the necessary filming equipment such as camera, sound and lighting, therefore learning how to set everything up correctly and understand how they work. Also working from someone elses pre-written script was a good experience as we had to be as creative as possible in terms of direction and design in order to make this film based on someone else's vision as entertaining and real to the script as possible.



I was generally happy with what we had produced considering it was our first film though after viewing other group's films there are definitely a few things I would have maybe liked to have done differently:-

1. Different types of shot for each scene.
Pretty much all our scenes consist of one long shot. I think it makes for much more interesting viewing to switch between shots now and then. For instance a close-up of the email Bogdan was typing or close-up of him ripping up his letter, or maybe even some steady-cam or panning shots.

2. More thought put into location and props.
I was generally happy with this apart from the scenes in the government office where we used a study room in the library. Although we had various props to make it look more like an office, there was still a lot missing and simply did not look convincing i.e. no telephone, computer or paperwork.

3. More sound/music
Although the mood we were going for this film was dull/depressing/mundane, I really liked how some group's had incorporated a soundtrack and extra sound effects to make viewing this no-dialogue film less tedious to watch.

4. Possibly further experimentation with effects and transitions during editing.

The highlight of our production of this film however is definitely the underwater scene. Here we went to a local swimming pool and attached our video camera inside a fish tank so that we could film underwater clearly without breaking the camera, we also used a brick inside the tank to gain efficient bouyancy to navigate the camera through the water with ease.
Holding Pattern
Shot lists:

Scene 1 - Establishing shot - wide angle

Scene 2- Shot 1 - p.o.v shot - walks into government office- Shot 2 - m.c.u - eating sandwich-Shot 3 - p.o.v - government official looks over

Scene 3 - Full body shot

Scene 4 - High shot, looking down- side on

Scene 5 - Wide angle shot

Scene 6 - Close up - his face, computer screen and typing

Scene 7 - Close m.c.u

Scene 8 - Full body shots

Scene 9 - Full body shot into close up

Scene 10 - Same as scene 1

PROPS: Suitcase, posters, sandwiches, newspaper, pastry, dictionary, Romanian music, letter, loose change.Office stuff: laptop, papers, mug, pens
Sound Effect Recording Seminars
In this 3 part seminar we had to first record a series of sound effects on the street using a special sound recording device; we asked to go on a scavenger hunt recording a variety of different sounds within the allotted time period, these included sound effects such as trams, keys jangling, drilling, car horn, fire engine, birds, traffic, dogs barking etc. We had to do our best not to pick up any other background noise in the recording. The next stage was to transfer these to hardrive, convert them to appropriate sound file format and edit the 'in' and 'out' points to make the sound effect as authentic as possible.



In the final seminar we were asked to select a video clip from a given selection of films, cartoons and adverts and remove the audio. We then had to take the sound effects we had recorded and use them with the visuals where appropriate using Adobe Premiere. I chose to use a gun shoot-out scene from the 1997 movie Grosse Point Blank. We hadn't recorded any gun shot sound effects during the scavenger hunt there had to recreate them as best we could using Sound Forge. I used the 'pneumatic drill' and 'crushing can' sounds and editing them using various distortion effects to create 'machine gun' and 'pistol' effects respectively before adding them to the video at the appropriate moments.

Overall I really enjoyed this task as sound production is something that I have never had the chance to experiment with before and found it to be fairly innovative and creative. However my lack of knowledge with Soundforge and the Adobe Premiere sound mixer meant my final result in this exercise was slightly unsatisfactory in parts though good practice. I would like to try to get to grips with this sound production more in my spare time as well as producing music in Cubase or FruityLoops.

3 Point Lighting

We had a seminar on this a few weeks back which although I found extremely uninteresting; has enlightened me on the importance of this technique and that it is standard procedure in film and photography, something which I never knew. Still although I have had a bit more practice with lighting now, I am still uncertain of when the lighting is correct for the appropriate shot.

Key/Main Light:
This is the main light. It is usually the strongest and has the most influence on the look of the scene. It is placed to one side of the camera/subject so that this side is well lit and the other side has some shadow.

Fill Light:
This is the secondary light and is placed on the opposite side of the key light. It is used to fill the shadows created by the key. The fill will usually be softer and less bright than the key. To acheive this, you could move the light further away or use some spun. You might also want to set the fill light to more of a flood than the key.

Back Light:
The back light is placed behind the subject and lights it from the rear. Rather than providing direct lighting (like the key and fill), its purpose is to provide definition and subtle highlights around the subject's outlines. This helps separate the subject from the background and provide a three-dimensional look.


Genre - Horror
Horror films are films of the horror genre that are designed to elicit fright, fear, terror, or horror from viewers. In horror film plots, evil forces, events, or characters, sometimes of supernatural origin, intrude into the everyday world. Horror film characters include vampires, zombies, monsters, serial killers, demons, ghosts and a range of other fear-inspiring characters.

I find horror to be one of the most fascinating genres genres of film due to the lack of boundaries allowing the film maker to really stretch the imagination and make more interesting and surreal use of story, character and art production; this shall be one of my primary focuses for the year so shall talk about this more later.



Above is my groups attempt at a typical horror scene and we are all fairly pleased with it. My main interest in this piece was the art production and decided to use Alex's large artistic graffiti covered basment as the location along with a monster/witch mask found at a local costume shop. I thought the location was fairly unique seeing that it had a kind of colourful and surreal urban feel to it yet was dark and creepy at the same time.
The most impressive aspect of this film though would have to be the audio produced on FruityLoops, it creates a nail biting and intense build up as the victim wonders through the basement before intensifying to the max as the light shines onto the monster attacking before cutting out.
Given more time I think I would like to have tried this shot using a series of different camera angles and shots other than just the first-person POV and also worked on improving the shot of the killer appearing to be more subtle and scary as in more classical horror movies such as Halloween; other than that I was pleased with the result and will look forward to working on similar projects in the future.

Friday, November 16, 2007

Form and Interview

Task
Part 1
Think about the documentary form.
Where does your stage 1 project fit?Do some research about
the types. More exist than mentioned this morning.
Think about visual styles that might fit that documentary form.

Part 2
Devise a series of questions and camera stagings that seek to
help illuminate personality subject matter POV of main character.
Is a pre-shooting script appropriate? If so devise one.

Part 3
Directed study task discussion.
We will discuss your Treatment and script completed over this last week.

Types of Documentary

Expository
A very traditional form of documentary in which an unseen speaker performs a voiced-over commentary that literally explains the images that we are seeing. It is the form often associated with wild life or historic documentaries, in which the viewer might feel in need of information about what they are seeing. The audience is not particularly ‘empowered’ by this kind of approach, finding itself in a subordinate role listening to the version of events that the filmmakers choose to prioritise.

Blue Planet


Observational
This is the mode associated with ‘fly-on-the-wall’ type documentaries. They appear to have been filmed in ‘real time’, as if the camera has happened upon events while those involved are seemingly unaware of the filming going on. The filmmakers correspondingly attempt not to interfere in what is underway. We do not hear their questions and we do not see them. There is no voice-over telling us what to think or what conclusions we should draw.

Airline


Interactive
Many documentaries feature a certain amount of interactive mode filmmaking. Such sequences will involve those being filmed responding to questions asked of them. In such interviews, the questions of the filmmaker may be left in or edited out. This may be a way that individuals in a film can make their own case, but it is also a mode that can act to undermine the interviewees, making them look foolish or deluded. Their interpretation of events or personal account may be rendered to seem trustworthy or untrustworthy depending on the context of surrounding shots or the nature of the statements being made in their own right.

Beef


Reflective
This is a style that is usually associated with more experimental documentaries, ones in which the filmmakers are interested as much in the process of making a film, of how reality can be constructed, as the actual content. At the simplest level the film may make no attempt to hide aspects of its construction - showing us the camera people for example.

Crocodile Hunter


Poetic
The poetic mode moved away from continuity editing and instead organized images of the material world by means of associations and patterns, both in terms of time and space. Well-rounded characters—'life-like people'—were absent; instead, people appeared in these films as entities, just like any other, that are found in the material world. The films were fragmentary, impressionistic,lyrical and artistic.

London Drum n Bass Documentary